Episode 94
FCG094 - Small Business - Big Money (feat. Andrew Coons)
Many outlets for video production exit. Today more then ever it is important to remember that our clients can share their productions that we help them create all over the web. In this episode of The Grill, Andrew Coons of Live Wire Films talks about his history with Avid, FCPX, Premiere, and how he ended up back at FCPX. We also discuss Apple Motion and why we should probably be taking a deeper look at this app.
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Featuring
- Chris Fenwick
- Andrew Coons - @twitter
Transcription
00:00.001: It's crazy town what they're doing over there.
00:00.001: It'd be a good scalable feature.
00:00.080: Final Cut was doing the managed libraries and everything.
00:00.080: I definitely slide.
00:00.080: Did we talk about?
00:00.160: Please don't do that, Andrew.
00:00.160: For coming up with grandiose ideas and never following through.
00:00.160: And I'm going to make that the 100th episode on the 21st.
00:00.160: which is like two and a half minutes long, roughly.
00:00.160: Of the country.
00:00.160: Oh, that's right.
00:00.160: You know, talking to my boss, he goes, I ain't paying for that.
00:00.160: It's ridiculous.
00:00.160: for like three hundred bucks for like a five-year license.
00:00.160: And I was like, okay, I don't like Avid because it's crashing all the time and I don't like the way it encapsulates media and whatnot, but I know it.
00:00.160: Fanboy, and I want to give everybody a fair shake.
00:00.160: And he walked me through getting new firmware and it was like, you know, it's it's I think I think the thing that happens a lot is that you will um
00:00.160: So bucks away.
00:00.160: For the type of projects that I was going to be doing on it as a single editor, basically just think, oh, I'm going to do my little short films on this now that I'm graduating from film school.
00:00.160: It's got the magnetic timeline.
00:00.160: But yeah, I was like, you know what?
00:00.160: So I started checking it out again.
00:00.160: And it's not what I found with large corporations is that they may say they'll prefer you, but they're so busy doing their own thing that they don't really have time to go be a champion for you.
00:00.160: And your video production company.
00:00.160: Um and then trying to just kind of grow video campaigns and whatnot.
00:00.160: a living just making bitch and vine videos if there was a yeah no our our next our thing for twenty fifteen is we're gonna start pushing Instagram videos cool and you know whether for ourselves or our clients there's just
00:00.160: Mapping out our strategy right now.
00:00.160: And somebody said, Well, w uh th the one for Volvo, have you seen this one?
00:00.160: And as the camera pulls out further and further and further, you realize he is standing on the rear view mirrors of two Volvo trucks.
00:00.160: Did Premier let you down?
00:00.160: Because now that I'm thinking back on it, you know, there was the initial really slow export on that one project.
00:00.160: Clip, and it says, No, I can't do that.
00:00.160: It was completely random.
00:00.160: Yeah, it says create archives.
00:00.160: And there's specific IDs for every file on that that the computer looks at that I don't have the ability to screw with.
00:00.160: prefer not doing or an ex you know a another folder um it's going to remember that but anyway um i will say that
00:00.160: For, like, you know, if I ever have to do that one thing.
00:00.160: Oh, speed it up?
00:00.160: Oh, I'm going to have to take this out to the flame or, you know, something like that.
00:00.160: Like the port doesn't have enough juice to be able to do 5K to a display.
00:00.160: I think a lot of people shoot 6K for 4K.
00:00.160: Look at on my phone.
00:00.160: for proxy for any reason whatsoever.
00:00.160: Oh, yeah, I'm going to cut that out, and I and I know I will forget.
00:00.240: He started on Avid in school.
00:00.240: I love the music.
00:00.240: Free broadband for everyone here at the studio.
00:00.240: And I'm a broke college graduate and just doing freelance jobs.
00:00.240: You got your Avid, you did some a little Final Cut, then you went to Premiere like all the other people.
00:00.240: For you know 300 bucks.
00:00.240: a couple of months ago and I called the guys at at um Pegasus 'cause I use the promise raids.
00:00.240: It totally crashed on me and I'm hosed.
00:00.240: is try and remember precisely the things that you were doing prior to the crash.
00:00.240: And I'll tell you a little side story.
00:00.240: Yeah.
00:00.240: And that was the first time I swore it off.
00:00.240: You do it on one, you copy that and you paste that attribute some a across the rest of 'em.
00:00.240: Yeah, and it's gonna play in real time.
00:00.240: It could have been a million different things, but it was that one bad experience that made me go, you know what?
00:00.240: I have had people say to me, dude, you need to start looking at motion a little better.
00:00.240: because it's part of what makes the Final Fit Ten experience so good.
00:00.240: Yeah.
00:00.240: I can actually go in and edit the individual keyframes to give it a further level of finesse.
00:00.240: really big, sexy videos and huge crews and all this stuff.
00:00.240: Is that on a day to day basis, you're getting to know people a lot better.
00:00.240: Talking to the camera, explaining what they do, you know, short format so they can kind of get it out on social media and whatnot.
00:00.240: So that, yeah, so given that aspect of the ability to say, you know what, I don't have to do a big ad buy.
00:00.240: and then the camera starts to pull out, and it's some Enya music, I think.
00:00.240: And show these two trucks at three-quarter angle, and you realize they're going in reverse.
00:00.240: And Jean-Claude Vendamme is doing the splits between these two trucks.
00:00.240: Yeah, this is a good thing.
00:00.240: Piece.
00:00.240: I look at all the other editors out there, the big names and the bigger companies, and I go, Well, well, that seems old school.
00:00.240: for both us and the clients and still accomplish our goal.
00:00.240: was because I was fast.
00:00.240: for me, because I was working at a on a per project rate rather than an hourly.
00:00.240: I think it took two hours to export the six-minute piece.
00:00.240: That it was planned in such a way, that it was, you know, arranged in such a way that when he handed off the hard drive, it wouldn't bag me like that.
00:00.240: Nonetheless, I was doing something wrong, it took too long.
00:00.240: And I did not have any of those problems.
00:00.240: for that.
00:00.240: And everything was, I don't know what happened moving it from one machine to another, but everything was unlinked.
00:00.240: And I went up to the festival people because everybody was buzzing about this film.
00:00.240: Yeah.
00:00.240: You were talking about the audio though.
00:00.240: They wouldn't relink or anything.
00:00.240: Keeping on top of your game.
00:00.240: Got to the deadline of we needed to submit it to the film festival.
00:00.240: Yeah.
00:00.240: Get stuff in and out of After Effects.
00:00.240: And that's funny because that was because I like I mentioned, I did a little bit of work in Sony Vegas for a while as well.
00:00.240: Now, a CF card or an SD card or whatever, I could actually damage that media if I wasn't careful.
00:00.240: Like, is it referencing that archive for your original media?
00:00.240: Gotcha.
00:00.240: That the transition tutorial.
00:00.240: For the three people out there that edit and don't have any.
00:00.240: That will fix the jump cut.
00:00.240: head is looking over the other way and he's shifted weight in his seat, so his body is now a little bit frame right or left, what you know.
00:00.240: Have you ever been in an interview where somebody stops and they think about what they want to say?
00:00.240: Some of those things are I think they're kind of like they're really advanced fixes that I think used to be relegated to like
00:00.240: Yeah, give it a try on a couple.
00:00.240: because there have been a few updates version one, one point one and one point two.
00:00.240: But it did kind of scare me that one time.
00:00.240: So we work off of a NAS system at the office, and it's not as fast as I would like it to be.
00:00.240: Referencing less of it so it can draw it quicker.
00:00.240: So, and we've been balls to the wall since then, so I've not had a chance yet.
00:00.240: which is free, it's easy to get.
00:00.240: Thunderbolt 2 has DisplayPort 1.
00:00.240: Mac Pros.
00:00.240: And I was messing around with the 5K iMac because I'm waiting you know, we're waiting for ours to arrive at the office here.
00:00.240: You know, because the retina computers, they don't tell you what the resolution of the display is anymore.
00:00.240: So anyway, who knows what's going on there?
00:00.240: talking about that on the last episode with Stuart Moore.
00:00.240: you know, to start editing on gigs and gigs and gigs of stuff to transcode.
00:00.240: And it was a little chuggalug.
00:00.240: You know, maybe we don't have our steps set up right.
00:00.240: Okay, so that's Andrew Coons.
00:00.240: So thanks for listening.
00:00.240: We'll be back.
00:00.320: And uh today we're talking with Andrew Croons.
00:00.320: And so, anyway, we had a nice chat.
00:00.320: As I've said, we're coming up on 100, and I have not mentioned this to the people involved, but I am trying to gather some email addresses and stuff.
00:00.320: But we're going to do Google Hangout on Air.
00:00.320: To talk about the new website.
00:00.320: unusual to talk to somebody that's never actually used it?
00:00.320: when you talk to a lot of high end people.
00:00.320: Of course you get a smoke.
00:00.320: kind of offline.
00:00.320: And then it just got to the point where I was like, this is ridiculous.
00:00.320: What do you think the cause of some of these crashes were?
00:00.320: Do you think maybe your system just wasn't quite robust enough, slow hard drives?
00:00.320: To do some hardcore troubleshooting and maybe even get some tech assistance.
00:00.320: You know, I like I'm not even supposed to say who it is, but I know I know the guy who does it, and he's a good friend, and he's new to the job, and he's very diligent about it.
00:00.320: a piece of software crashes and that that box pops up, it says, you know, comment, leave a comment, and nobody ever does, or they're just livid and they're like, God damn, we got some profit, bro, you know, just screaming into the box.
00:00.320: And Pinnacle um I don't know what they make now, but they used to make this thing called the um Aladdin.
00:00.320: So when I downloaded it, you know, was using it for a few weeks, was really liking some of the stuff, you know, obviously buttons are in different places and whatnot, but what killed me was just the general bugginess of it.
00:00.320: And I went and took all the photography.
00:00.320: I did.
00:00.320: What were some of the things that drew you?
00:00.320: Yeah.
00:00.320: In both Final Cut and After Effects for that, just because my knowledge of Final Cut's a lot better, so I can do certain things in Final Cut easier.
00:00.320: Than I can in After Effects.
00:00.320: Now are you an After Effects user?
00:00.320: And then there's a button you can click where you can say, screw it, make this behavior into keyframes.
00:00.320: Exactly.
00:00.320: We found a good price point and we found a good networking routine that we've just got tons of small business owners coming through our doors wanting to use video production.
00:00.320: Yeah, and I thought the same thing.
00:00.320: like community aspect where we'll have a client come through our doors, they'll like us and they'll know fifty other small business owners, so they'll go refer us over there.
00:00.320: And so it's Jean-Claude Van Damme, and it starts at an extreme close-up with a beautiful sunset or sunrise, I think sunrise, behind him.
00:00.320: One of the trucks starts to oh, oh, and by the way, okay, well, one of the trucks starts to pull slightly further away.
00:00.320: Starts to p pull slightly away.
00:00.320: And I looked at them.
00:00.320: And so you forget about that when it comes to as content creators, we can sell to somebody who can't necessarily make a big ad buy.
00:00.320: Yeah, I think the only difference between Express and Final Cut Pro was uh the lack of oh, well, one of the main things was the lack of time code support.
00:00.320: See what's new.
00:00.320: To friends of mine at Adobe.
00:00.320: There is something about a clip can get and it used to do this.
00:00.320: So like what I typically do, because we have these big raids, is I'll open up the job folder and I'll go, Yeah, look in here.
00:00.320: Yeah.
00:00.320: Final cut works it sounds so simple when I say it, but it's kind of for me it was profound.
00:00.320: Good footage, right?
00:00.320: Well, yeah, because you you realize that you're salvaging footage and not polishing footage.
00:00.320: Half the time it you know, there might be some a legitimate problem.
00:00.320: And I was like, really?
00:00.320: for files in Final Cut.
00:00.320: Now, in the, I believe it's in the lower left-hand corner of that window.
00:00.320: there's one level of addressing or communication below the user interface that is out of my ability to screw with it.
00:00.320: or the camera archive, and the camera excuse me, the final cut will remember where that is.
00:00.320: Final Cut just goes, Yeah, yeah, yeah, I'm not fooled by that.
00:00.320: So I might want to rename it in the final cat, but it's not going to rename it on the card.
00:00.320: Based on things I've learned and just general teasing that I've gotten from some of the list of listeners and guests on the show.
00:00.320: You grab the last frame of the first clip, the first frame of the second clip, in and out, export those two frames as a video file, bring it back into Final Cut, stretch it out, and apply optical flow.
00:00.320: Through the course of doing the show for nearly a year now, I have learned a whole lot, obviously.
00:00.320: And that will do the same sort of morphing technique where, and I'm simplifying it.
00:00.320: and you hit Command R to get into your retiming mode, and he says you pull it out to about fifteen percent speed.
00:00.320: Just long enough for a transition.
00:00.320: And the optical flow and so what does optical flow does do?
00:00.320: Yeah.
00:00.320: And literally that day she had to do it like four times.
00:00.320: Yeah, exactly.
00:00.320: Then you hit the the shift B, or B, I think, and it blades the green time remapping bar.
00:00.320: Time remap bar, the green bar.
00:00.320: Pauses for a moment and you want a little bit more of a dramatic pause, you could slow it down.
00:00.320: Yeah, and I mean as I've been learning more and more about Final Code over the last year or so, it's just what you said, it's incredible that just when I think, okay, I think I know everything that's in here, oh, what does optical flow do?
00:00.320: After effects thing that we were talking about earlier.
00:00.320: a deal breaker, right?
00:00.320: I do.
00:00.320: So have you ever done like a speed test tool on your NAS to see how fast it is?
00:00.320: And read speed is 550, 70, 90, 599.
00:00.320: New Mac Pro, which is now a year old, but uh almost.
00:00.320: The por the speed of the ports was one of the things that everybody was buzzing about.
00:00.320: black magic hammers and whatnot.
00:00.320: And if you could find the programmers like maybe in the cafeteria and you said, hey, hey, it's me, you know, it's Andrew Coons, and I need a feature.
00:00.320: episode recently where I did something that was it was like thirty percent GoPro.
00:00.320: DSLR and a whole and the rest was like red footage.
00:00.320: So I'd be curious what your disk speed is.
00:00.320: when people have less than stellar experiences, and this goes for everything, software included.
00:00.320: And then hopefully, very soon after I record the interview, I sit down and I record the open and I record the wrap-up.
00:00.320: So there's that.
00:00.400: On a special episode for show 100.
00:00.400: Um I am looking at November, I believe it is 19th, okay?
00:00.400: It'll make it easier to do testing.
00:00.400: And I was beta testing it in the several weeks, about a month and a half I think, prior to them showing it for the first time at NAB in 1993 or four or something like that.
00:00.400: You open a new document, you open, you get the s rectangle tool, you draw a rectangle, you get the s circle tool, you draw a circle tool, you fill the cir
00:00.400: And if you did anything different than those things, it wouldn't crash.
00:00.400: One second and twenty-six frames.
00:00.400: You type it you have them all selected.
00:00.400: Um advanced green screen, like if I needed to really touch up a green screen, you know, sometimes some title work.
00:00.400: There is a function, I'm sure Mark Spencer could teach us.
00:00.400: I'll admit it, I'm you know a thousand years old.
00:00.400: of distribution with all of the social media stuff, Facebook, YouTube, Vimeo, whatever, Vine.
00:00.400: Spot in the Super Bowl or whatnot, you're going to drive a lot of revenue.
00:00.400: Let's back up.
00:00.400: I don't know how long ago it was, a month or two ago, about a project that came through our shop and somebody else had started it and it was premiere and I had to get thrown into it in the last minute and it was like a six-minute piece and it was going to take
00:00.400: you can get stuff all wonky.
00:00.400: So I'm like, okay, I'm going to reopen this in Final Cut, because I had edited it originally in Final Cut X.
00:00.400: Well, it may be worth doing just for your own personal edification.
00:00.400: And you're just listening, oh, that's loud, that's quiet, you know, and it's it can be really, really, really bad when you do that.
00:00.400: It will and I could be totally wrong, and I apologize if I am, but I think if you rename that camera archive file
00:00.400: And it's going to take and essentially make a disk image of that card.
00:00.400: basically just ridiculing me and calling me out and making me feel like a fool.
00:00.400: Not only a few days ago at like one of the big Adobe conferences, they premiered that whole basically, if you have a jump cut, they've got this new plug-in thing.
00:00.400: Essentially, what you have to do is you have to have the second frame information in the clip so that it can reference it.
00:00.400: Demo.
00:00.400: You know, half quality, quarter quality, and whatnot, without having to transcode all your media.
00:00.400: but the um display port technology that is embedded in the Thunderbolt two is only one point two.
00:00.400: I that tells me, I mean, just logically, you can assume that there is going to be a a slight bump and reconfig in the next
00:00.400: Command option three, or command shift three, right?
00:00.400: Photo.
00:00.400: Um, the one feature I you know it would go it would go to the being able to scale my playback resolution so that I don't have to proxy everything.
00:00.480: And we're just going to have a chat.
00:00.480: this week in photo.
00:00.480: Is it films?
00:00.480: Yep.
00:00.480: High, and yet cheaper than leasing software from other companies.
00:00.480: You know, without getting into, you know, oh, the stupid launch and blah, blah, blah, I'm more interested because.
00:00.480: Because of your journey is somewhat unique.
00:00.480: The film program at my school right before they made a whole bunch of major upgrades.
00:00.480: edited everything on old PCs and Avid.
00:00.480: My friends at Apple always say, please, please, please report the bugs and things if you ever have problems.
00:00.480: You lay your music track down, you put down a couple of beat markers, and you get to the point where you go, Okay, yeah, these need to be
00:00.480: Especially for someone like me who I don't at the time I didn't need multicam.
00:00.480: You know, I I I was showing somebody I think I mentioned this uh a little while ago, I was showing somebody the um the Jean-Claude Van Damme video.
00:00.480: So, um, but I was talking to somebody and they go, Well, you know, because it's an awkward length.
00:00.480: So we were on the transition from leaving Premiere back to Final Cut 10.
00:00.480: Since I said that, and I haven't even thought about it.
00:00.480: Set your levels in your suite and leave them alone.
00:00.480: Final Cut is really good at making those final little tweaks, those little color correction tweaks, those little audio sweetenings that, for at least what we do,
00:00.480: You know, we mentioned this when I was talking with Wes Plate a few weeks ago, episode 89, if you're interested.
00:00.480: You blade it again.
00:00.480: I apologize if there was something that I did not understand, but I will say I got very nervous trying it the one time, and it's probably worth taking another look at.
00:00.480: I'm going to assume that they were chiming in and actually successfully and not just Googling something and saying, hey, you should try this.
00:00.480: Yeah, I'm pretty sure it's not that fast.
00:00.480: that we are too early in the cycle of hardware to actually see a 5K display for our Mac Pros.
00:00.480: Anyway, I can't find it.
00:00.480: And I just appreciate it.
00:00.560: I'm going to assume when you got out of school, it's like, yeah, Avid's completely out of price out of the price range.
00:00.560: Well, so that's another interesting point because what a lot of people didn't I don't think a lot of people realize is that Avid did this deal for a little while, and I don't know if they're still doing it or not, where students could get Media Composer
00:00.560: What happens is sometimes we're afraid to ask for help because we think it might be that we're just stupid and we don't want somebody to say, hey, you're stupid.
00:00.560: That stopped me from using it.
00:00.560: For it to render, and that it's just like taking two hours to render.
00:00.560: But I remember looking at the computer, just cursing at it, like, go faster, go faster, go faster.
00:00.560: And they don't give Final Caten a chance.
00:00.560: And this really cheesy voiceover, and he goes, I have a body that is mat that is chiseled to perfection.
00:00.560: And she was like digging into a camera archive to go, Yep, here it is or not a camera archive, that's actually a proper noun now.
00:00.560: It is.
00:00.560: A whole bunch of my media, and it did that thing to it that we were talking about earlier, where it said, Yeah, I can't relink to that.
00:00.560: Um no, that's not it.
00:00.560: After Effects, and it does some things like makes some handles and stuff.
00:00.560: Are you familiar with that?
00:00.560: Are there any things in ten that are disappointing you or letting you down?
00:00.560: So I have to proxy all my media, proxy encode all my media before I can really start editing with it, unless it's like a thirty second project.
00:00.560: And I found in Vegas one of the you know, Vegas has is its own thing, but there were some really interesting, powerful tools in there, and that was one of them.
00:00.560: Yeah, Third World Tools 2 is going to be awesome.
00:00.560: like just preview, Photoshop, preview, whatever, Command I, and it'll show you the resolution of the desktop at the moment that you took it.
00:00.560: Um this is not good radio.
00:00.560: Stay tuned.
00:00.640: I don't think we've really talked about on the show.
00:00.640: Let me think.
00:00.640: Hi, I won't say your name.
00:00.640: Because this was a project that was set up by somebody else.
00:00.640: So that is something that having watched Sasha do that today, I was like, hey, did you know?
00:00.640: It something would happen where it's like, damn it, link to that.
00:00.640: And round tripping.
00:00.640: wanted to polish that turd.
00:00.640: glitch where sometimes you would open up your project and certain shots would just be linked to the wrong shot.
00:00.640: I believe his his first name is T, I believe it's Patton, T.
00:00.640: Now it's writing at 684 and reading at seven and change.
00:00.640: But if you take that screen grab, you can actually look at the resolution of it.
00:00.640: I'm gonna have to look because I wait, can I do that here?
00:00.640: No, that's people talking about me.
00:00.640: the highest end Mac Pro where you would benefit from that feature is just you can always get faster, right?
00:00.720: Andrew has cut on Avid Funnel Cut 10 and Premiere and bounced back and forth.
00:00.720: That's right.
00:00.720: but a little buggy in your current conf in that configuration.
00:00.720: Let's say somebody would look at seven versus ten, and they'd say, Well, I feel much more comfortable.
00:00.720: How are you even finding enough work with like mom and pop shops or other small businesses?
00:00.720: You know, I'll say that Premiere did not let me down at any point.
00:00.720: Multiple people tweeted me and emailed me, and there is a utility.
00:00.720: And it has a special icon.
00:00.720: You're going to have to do the copy to library storage location, I believe it's called now.
00:00.720: Basically what you do is you export that two-frame movie, bring it back in, drop it on top of your thing right at the transition point.
00:00.720: DisplayPort one point three specs, and then we'll be able to see a five K stand alone display from Apple and not just the five K IMAX.
00:00.720: It feels like the Blu-ray HD VD war all over again, where no one can decide on how many Ks they want to actually be able to support.
00:00.800: I think 10.
00:00.800: We do some, like, we'll, like, some infographic stuff where we're, we're modifying templates and everything.
00:00.800: We've never done anything on television.
00:00.800: No, I mean like time-wise, what version of Final Cut was that?
00:00.800: If you just select the hard drive that the project's on, it's going to find it.
00:00.800: That's a cool thing about little time saver makes you faster.
00:00.800: Response.
00:00.800: And I mean, it really opens up a whole new world for everything involving interviews.
00:00.800: twenty cameras in a multicam, and you just set it to half quality and even on a fairly slow computer, it would go along pretty well.
00:00.800: You know, I want to make some intelligent comments.
00:00.880: excessive meltdowns like that, it's probably worth taking the time, which may be a couple of days.
00:00.880: I have been told by programmers that the most important thing that you can tell them about a crash is not
00:00.880: Okay, then you go to Alex Fordee's site, you get his Grow Shrink plugin, which is amazing.
00:00.880: Um, what kind of things would you r would you round trip into Premiere excuse me, into After Effects from Premiere?
00:00.880: How do I want to describe this?
00:00.880: But you know, it did teach me an interesting lesson about Final Cut that I've been trying to implement more and more.
00:00.880: I do not search for a word or phrase where you get exactly one
00:00.880: There it is, sitting there all dumb and happy, just waiting for you to deal with it.
00:00.880: And so, if the dude's head is looking over here and his body is shifted like this, and then in the next frame is
00:00.880: The bandwidth of DisplayPort 1.
00:00.880: See what it what interests me about that whole thing is that the the Mac Pros were touted as being 4K machines.
00:00.960: What I'm g uh the the one hundredth show will be November twenty one.
00:00.960: Well, and the thing that was a little different for me is that when 10 was announced and watching Apple's big conference and whatnot,
00:00.960: Yep.
00:00.960: Um, what drew me back to Final Cut 10 was kind of just keeping my ear to the ground about all the buzz, you know, oh, they fixed this, oh, they fixed that.
00:00.960: So primarily what we do over at LiveWire in Minneapolis is small business.
00:00.960: And and he's standing on the mirrors.
00:00.960: So yeah, fast editors.
00:00.960: I was watching Sasha, who works in our office, relinking a project today, and I noticed her do something that I realized she doesn't need to do anymore.
00:00.960: Okay.
00:00.960: This was what was today.
00:01.040: But the only thing that they did is they he did have a safety harness and they did paint out the safety harness because they don't want to.
00:01.040: It'll say it'll give you the list, and then you say, yep, I want to relink.
00:01.040: And so, you know, split attention just did not do a good job booming it.
00:01.040: Somebody said, let's see, and I'd like to attribute this.
00:01.120: I read North Carolina somewhere.
00:01.120: What was I going to say?
00:01.120: And they're like, dude, your audio sucked.
00:01.120: Which is a bummer because I think with a little audio touch up, I could actually feel like, hey, yeah, I could show you that film.
00:01.120: It's very fast to do all that stuff.
00:01.120: No, if Final Cut is turned on and you plug a CF card into your card reader, Final Cut's going to it's the computer is automatically going to toggle over to Final Cut and it's going to open the import window.
00:01.120: Readable, but not writable.
00:01.120: I think it was Monday morning.
00:01.120: It's starting to feel like a bottomless pit, which is a good thing.
00:01.120: And the other thing that I think is interesting is that Thomas has not chosen to monetize this project.
00:01.120: And it's doing oh, nice.
00:01.120: But the resolution is like 6,400 pixels across.
00:01.200: I was five years old, I believe.
00:01.200: I was sitting in an editor with one of my clients, and I pointed to the number in the bottom of the YouTube channel.
00:01.200: I've never, I've never, and as far as I know, LiveWire has never sold an ad buy style.
00:01.200: Yeah, I just searched for something.
00:01.200: I have to recut this thing.
00:01.280: Yeah, thanks for staying up late.
00:01.280: It is.
00:01.280: I've actually speed ramped those pauses.
00:01.280: Yep, so I've tried that and that didn't help.
00:01.360: I think it's good to kind of get over that fear.
00:01.360: Um so yeah uh avid too expensive even though you had it.
00:01.360: I'm going to give it at least a year before I touch this thing again.
00:01.360: In the future, if they can get round tripping through motion and everything, is it'll just become more of that sweet type of thing that I think is kind of missing right now.
00:01.360: You know, we were saying, I said, yeah, that'd be great if we could do something like that.
00:01.360: I'll say let's call it naming.
00:01.360: trick that he that he did.
00:01.360: Capabilities.
00:01.440: It's only $3,500.
00:01.440: So what this is an interesting thing because again, I know hardcore Premiere users and I know hardcore Final Cut users.
00:01.440: Yeah, you know, I have I have uh I'm a huge After Effects user, been using it for a long time, and I have been uh
00:01.440: And I found that I could be a lot faster in Final Cut than I could in Premiere.
00:01.440: You said you were going to do the next one on Premiere, but you have not done that yet?
00:01.440: I did find, though, I don't know, just for me, between Premiere and Final Cut, I found that if I really
00:01.520: So very interesting.
00:01.520: And that's what was tough.
00:01.520: Okay.
00:01.600: No.
00:01.600: It's easy.
00:01.600: So and actually back in film school, a little bit of Final Cut Express, which similar to Seven, never actually touched Seven.
00:01.600: And for about six months, I think I edited side by side Premiere and Final Cut, just kind of alternating projects just to kind of compare the two.
00:01.600: Does that do those have to be square?
00:01.600: And so basically, it came down to do I re-edit the entire film from the raw footage or do I just say, meh, move on to the next thing, which is what I ended up doing.
00:01.600: So absolutely revolutionary, and it just opens up so many possibilities in terms of you could do something.
00:01.680: Well, and I just realized because I've been listening to some old grill episodes, you know, over the past couple of weeks.
00:01.680: 1 came out and there was a lot of buzz about, oh, a lot of the bugginess is gone.
00:01.680: I don't know if everybody knows this, but the Relink tool is much more robust today than it was, like even I think six months ago.
00:01.680: How do you think you missed it?
00:01.760: Yeah, I was j I was, you know, I just had this conversation with somebody the other day.
00:01.760: I mean, I'll admit, I'll admit, I look at that and I'm like, yeah, that doesn't sound like something I really want to get involved in.
00:01.760: As far as the audio quality of the case.
00:01.760: That just makes the whole process a little bit easier.
00:01.760: I'm not.
00:01.760: Just long enough for a transition.
00:01.760: Maybe the Thunderbolt two or two point five or three or whatever will support uh um
00:01.760: Andrew, thanks for taking part in playing with us here on the show.
00:01.840: So go check out Premium Beat.
00:01.840: And that's where I am with motion right now because I'm trying to understand behaviors a little better.
00:01.840: You know, when I first started doing my freelancing down in South Carolina before I moved up here, you know, I was like, oh man, I want to do
00:01.840: That's not a good feature.
00:01.840: Very cool.
00:01.920: Okay, there's my meters.
00:01.920: How are you doing tonight?
00:01.920: Yeah, it took a couple of years to get there.
00:01.920: It's a disease.
00:01.920: Sort of lesson to take away that, you know, I think that by and large, you know, all these systems are pretty good.
00:01.920: I said, obviously, I'm doing something wrong.
00:01.920: Yep.
00:01.920: So what that's going to do is it's going to take that CF card or SD card or P2 card or whatever card.
00:01.920: It does like a morph from one frame to the next.
00:01.920: Something's coming up.
00:02.000: You can buy the loop packs, and they also give you a precut short version, a fifteen, a thirty and a sixty.
00:02.000: So, yeah, it's interesting.
00:02.000: There's a similar hurdle to get over for myself in the same way that I would look at Final Cut
00:02.000: And that's made that may be unfair.
00:02.000: Wouldn't that be sweet if you go final cut 10 to After Effects?
00:02.080: I mean, I I don't it's it's Facebook is not a good way to uh communicate with me.
00:02.080: We're going to talk about the final cut.
00:02.080: Films, correct.
00:02.080: I was walking around the campus at school just telling everybody about the magnetic timeline.
00:02.080: What did it say to Wednesday?
00:02.080: Now, you'll notice again if the guy wiggles his head a little bit, it's a little funky.
00:02.160: Years ago, I'm going to good grief, like almost 20 years ago, I was working for Pinnacle.
00:02.160: So they're rolling while he's there.
00:02.160: Or was it just the the draw to see to get to some of these things that all this buzz you were hearing?
00:02.160: It it wouldn't relink.
00:02.160: Some crazy Apple math stuff.
00:02.160: This is the Friday episode.
00:02.240: And you're like, I know that's the right clip.
00:02.240: I'll have to download that tool and check it out.
00:02.240: Then Red starts in with their whole six K machines, but the iMac is a five K
00:02.320: And then I was like, I'm going to use Final Cut to, you know, with the Ken Burns effect and everything, and just, you know, within a few clicks, have this photo montage done.
00:02.320: So if you shoot well and you have everything exposed properly and you have all the audio decently mic'd
00:02.320: Again, you're not blading the clip, you're blading the remap.
00:02.320: Boy, this is compelling radio.
00:02.320: And um and I hit the quality switch off and went to performance and it was like, Okay, done.
00:02.320: Please go check out the iTunes.
00:02.400: It's an easy business transaction.
00:02.400: Okay, so I was talking with somebody just the other day, and we got into the learning wall and how painful it was in the beginning.
00:02.400: Sure.
00:02.400: he had an uncanny ability to remember things that he did.
00:02.400: I will say it was on the same it was a project that was started on one of our machines.
00:02.400: I've never had that happen.
00:02.400: Then you just take that little section and squeeze that together.
00:02.480: I want to thank the good people at Premium Beat.
00:02.480: Yeah, besides doing all these crazy podcasts, I'm still talking to people, other people, about Final Cut 10.
00:02.480: It's always been all web-based.
00:02.480: It was just a simple matter of I'm you know, one of the things that made me a desirable editor when I was freelancing, and the reason LiveWire ended up hiring me on full time
00:02.480: But so I think that's worth taking a look at.
00:02.480: So nothing that's making me go, oh, I got to go see what Premiere does for this solution.
00:02.480: And you there's a little gear in the middle and you say select target drive.
00:02.560: Andrew's story is interesting.
00:02.560: So, what that means is, I'm going to have some past guests on.
00:02.560: Who cares?
00:02.560: Anyway, so you're mount is Minneapolis Mountain Time or Central Caribbean?
00:02.560: You type in one twenty six, enter and boom, they're all a minute twenty six seconds.
00:02.560: And then you get to the point where you do kind of get over that learning wall and you go, oh, gee, what was I thinking?
00:02.560: I was talking to somebody the other day.
00:02.560: And especially if you use the camera archive feature, which I got to admit, I don't use that feature.
00:02.560: So I'm going to give it another go and see if it doesn't work a little better.
00:02.640: Okay, so now you select all those stills.
00:02.640: And I w and I want to say, 'cause, you know, again, I get accused of being a fanboy.
00:02.640: Okay, so basically, what the deal is, is let's say, I don't know if you've ever noticed, you know, we don't shoot, but we shoot a lot of stuff on HDSLR.
00:02.640: It looks like a little film reel.
00:02.720: Yeah, absolutely.
00:02.720: Like it was it was a daily struggle.
00:02.720: I'm really sorry about that.
00:02.720: I've just started importing to Final Cut and doing my normal workflow.
00:02.720: And I was like, Yep, good enough.
00:02.720: Now, if I take crap footage and I put it into Final Cut, it can handle it and it can recover some things here and there, but it's what slows my workflow down more than anything else.
00:02.720: Um, not that, not that.
00:02.720: All right.
00:02.800: Uh Andrew s s uh sought me out is the word I'm trying to say through the Facebook
00:02.880: Yeah, but when it starts coming out of your pocket, you start thinking about every little thing.
00:02.880: You know, obviously, Avid doesn't crash every day for every person.
00:02.880: It either pushed you away from Premiere or drew you toward Final Fat 10?
00:02.960: And I am forever indebted to their generosity in supporting what we're doing here.
00:02.960: Well, one of the wonderful gentlemen on one of the Facebook Final Cut forums came up with a Final Cut workflow where you so you've got your jump cut.
00:02.960: Yeah, you wiggle that down between the two problem cut the two problem shots.
00:02.960: And I understand the whole file smaller file sizes for like on the go and everything.
00:03.040: Now hey, so Andrew, I've been checking out your website, Livewire Films.
00:03.040: I don't know.
00:03.040: Since ten, one, you've been you your own words, I just automatically start my workflow getting stuff into into ten.
00:03.120: I noticed you're at the studio there, so you're using some somebody else's broadband, which is always good.
00:03.120: But there was this one time I was trying to crank out a time-sensitive - it was a same-day photo edit for a client.
00:03.120: Or are you still making your own copy?
00:03.120: Yeah, I think I came in Monday morning.
00:03.120: Yeah, it's like 6,400 by 3600, I think, is what it actually turned out to be.
00:03.200: It was a matter of pricing.
00:03.200: I'm good.
00:03.200: I wonder what took two hours on that one.
00:03.200: So there was this short film that I cut that we put into a festival.
00:03.200: Well, like for example, after you had the comment from the judges, you looked look went to look at it and you went yeah, I could use a little work.
00:03.200: Yeah, After Effects does that too.
00:03.200: And I got to say, it's always heartwarming to hear what people say about the show.
00:03.280: That's an important definitely an important thing.
00:03.280: I only had one response.
00:03.280: I don't think you really have to d you know, um, edit in 6K.
00:03.360: Now, I take no credit for this production technique.
00:03.360: Very good.
00:03.360: It did, yeah.
00:03.360: Andrew, thanks for being a part of the show.
00:03.360: That's the most ambiguous non-announcement I've ever made, but that's what we do here.
00:03.440: I mean, I've tried to always focus on, you know, the features that I like because I think ultimately.
00:03.440: I want to move to something else.
00:03.440: That may not be true in every case, but that's what we've seen.
00:03.440: But um, you know, you forget, or at least I forget, I forget that there is a whole nother way.
00:03.440: That goes all the way back to, hey, I don't want to spend $1,000 on Final Cut 7 when I know that Final Cut Express does everything that I need it to do.
00:03.440: 2.
00:03.440: We'll be back Monday with another episode of The Grill.
00:03.440: So I apologize about that.
00:03.520: Yeah.
00:03.520: I was like, what the hell is going on?
00:03.520: And I'm going all these long, awkward pauses.
00:03.600: So I had learned on Avid in film school, and I think it was on like five or five point five at the time.
00:03.600: A little bit, a dabble.
00:03.600: Your audio was just all over the board.
00:03.600: It's called ClipExborter.
00:03.600: I'm just going to say that.
00:03.680: Hey, good morning and welcome to another episode of Final Cut Grill.
00:03.680: I almost prefer Premiere because you have options like sending it out to After Effects and whatnot.
00:03.680: I can't remember who it was.
00:03.680: Patton, on the FCPX in sync.
00:03.680: Oh, was that incredible?
00:03.680: What I would love to see is an option like you have in, you know, I think I know Vegas has this and After Effects and I think Premiere has it as well, where you can say.
00:03.680: Yeah, you know what?
00:03.760: You?
00:03.760: But yeah, and that was what initially drew me to Final Cut X was that it was supposed to be all the power of seven and then some.
00:03.760: I don't know how long I'm going to be able to keep it up.
00:03.760: What do you think it was?
00:03.760: So they're rolling.
00:03.840: That's bizarre.
00:03.840: And so you're making connections and you're making referral partners that are helping grow your business.
00:03.840: Yeah, you know, I think that's something that, um, you know, I I mean, I'll uh I've
00:03.840: And then and then he he ma he gets down to, you know, hi the body uh crafted to perfection and these legs that can do these amazing things.
00:03.840: That's all I did when I was freelancing by myself.
00:03.840: And I went up to the festival people and I was like, hey, not to look a gift horse in the mouth, but why didn't we win best picture?
00:03.840: Did you ever solve your audio problem?
00:03.840: I found it.
00:03.840: So I don't ever want to speak uh too disparaging about something.
00:03.920: When he got out of school, he got a, you know, I always do this all the time.
00:03.920: Yeah.
00:03.920: And since I started working for LiveWire, I've realized what's cool about the small business side
00:03.920: I know exactly what I'm looking at.
00:03.920: And there's so much of that stuff that's like just right here in the timeline.
00:03.920: Once that is updated, no worries.
00:04.000: But this is what I'm going to try and do.
00:04.000: You don't have to be a lone wolf.
00:04.000: But that doesn't help them find the problem.
00:04.000: Thanks, Andrew.
00:04.000: So then you went to ten.
00:04.000: And I was having some trouble with the red footage.
00:04.080: It's crazy town, okay?
00:04.080: I know that's it.
00:04.080: Very much so.
00:04.080: It started with the shooting.
00:04.080: Uh right speed is pegged at five forty one
00:04.080: So I did that on the 5k iMac.
00:04.080: Yeah, that's definitely probably a little bit of the issue.
00:04.160: And you'll be able to watch it live.
00:04.160: So I was just let me think here.
00:04.160: I mean, I've talked to guys on the on our other show, the Digital Cinema Cafe, who like, you know, they don't understand why, you know, well, why wouldn't you get a smoke?
00:04.160: They do.
00:04.160: Yeah, and that's where that was an that's actually the second reason I got off of Final Cut.
00:04.160: Uh but I had a problem with the utility, and I can't remember the name of it, so I'm not really disparaging anybody here, um, where it actually took
00:04.160: It's round.
00:04.160: Oh no.
00:04.240: All right, so now we're going to go to the interview with Andrew Coons.
00:04.240: I didn't need some of these other things that other people were complaining about.
00:04.240: There's a button that says, I think it says like create camera archive or something.
00:04.320: So, um, you you're one of these kind of people that have touched every edit system there is.
00:04.320: But you're also going to pay a lot for it.
00:04.320: And that's where I think Final Cut will really make some jumps
00:04.320: No, that is really not a good feature.
00:04.320: And I'll jump in if we make sure we get it right.
00:04.320: It's And if she didn't have that, she'd be going, Oh my gosh, I don't have a B roll or I've got to come up with a graph.
00:04.320: Yeah, I think the one I use is the Black Magic Disk Speed Test.
00:04.320: Andrew, we should wrap this up.
00:04.320: I know for a fact that there were some times in there where I was like, hold on, I'm looking for something.
00:04.400: Now, this is what I'm going to try and do, and Fenwick is famous
00:04.400: What I'm gonna do is I'm gonna have um I'm gonna do one of those Google Hangout things
00:04.400: I'm good.
00:04.400: When did that happen?
00:04.400: And yeah, it's not it's not.
00:04.480: 10, well, first of all, Avid 10, Premier, 10.
00:04.480: Because obviously, tons of people are using Avid very successfully.
00:04.480: I've not.
00:04.480: So I would think one would like to think.
00:04.480: And so, yep, time kind of killed it.
00:04.480: It's right here.
00:04.480: But I think that that's an interesting little story.
00:04.560: It was a matter of I got out of film school and Final Cut Express was $99.
00:04.560: Right.
00:04.560: Well, so here's the thing: the speed of the Thunderbolt port, very, very fast.
00:04.640: And there's multiple ways that you can buy the music.
00:04.640: So let me cut in here just a second because you said something interesting.
00:04.640: It was a combination of a lot of things.
00:04.640: Including the color palettes.
00:04.640: And it was ridiculous.
00:04.640: To be fair, this is a locally attached Thunderbolt, you know, Thunderbolt one.
00:04.640: And you'll take a screen grab.
00:04.640: And I think that just like to reference back to the beginning of this conversation, just like with the avid, I think a lot of times
00:04.720: I can't find it now.
00:04.720: Where's my photos?
00:04.800: So, what were the things that so this is interesting because I've been talking with a few people.
00:04.800: I had no idea you could do that.
00:04.800: And the camera starts to pull out, and it's a little bit it's not rock solid still.
00:04.800: It gets worse.
00:04.800: Um it doesn't have the and it's not the computer's fault, it's not even the video card's fault, it's the port's fault.
00:04.880: Thank you.
00:04.880: So I shot my senior thesis on 16 mil instead of digital.
00:04.880: Do they really?
00:04.880: And there's, I still, like I was telling my boss the other day, I'm like, you know, I think the next project that comes through our door, I might just edit it on Premiere just to keep up with it.
00:04.880: But then there was a short film that I had cut, and this was before
00:04.880: And I know that there are some utilities, there's one utility out there that does it.
00:04.880: That's a smart one.
00:04.880: Leave a comment.
00:04.960: So if I could crank something out in two hours instead of five, that's awesome.
00:04.960: I mean, I'm not going to throw this in your lap.
00:04.960: Oh, that was before 10.
00:04.960: Very much so.
00:04.960: Wow, I almost got a perfect Google on that.
00:04.960: It's much more complicated than that.
00:04.960: Yeah, and that's that's super helpful.
00:04.960: We've already had some discussion about how
00:05.040: I mean, I had some issues with one of our hard drives.
00:05.040: And when I came back to it, you know, that was around 10.
00:05.040: So then you get it into post and it's, you know, you're trying to polish a turd.
00:05.040: Okay.
00:05.040: And I'll give you a hint.
00:05.120: And so whatever the buy-in was for Final Cut Studio was just too high.
00:05.120: What were the specific things that you hit your forehead on in regards to that learning wall?
00:05.120: Not yet.
00:05.120: So what that means is I can draw data off of that card, but I can't screw with it.
00:05.120: And if you reach into that card then and say, Oh, I want to import off of the file called camera archive.
00:05.120: So, um, this this camera archive, I remember now who it was.
00:05.120: You gotta get rid of Final Cut.
00:05.120: English.
00:05.120: I I I just to geek out on some Mac stuff here for a little bit.
00:05.120: They just say big, smaller, best, scaled for retina, whatever, you know, this ambiguous cartoon language.
00:05.200: So it would be very interesting to chat with him.
00:05.200: And basically, what they were explaining to me was that there are two levels of
00:05.200: It was about fifty percent uh f
00:05.280: So I think that had a big part of it, and it just it ingrained this hatred of Avid into all the students.
00:05.280: There's a function where you can apply a motion to something, excuse me, a behavior to something.
00:05.280: And it just it just, well, this is not compatible, BS.
00:05.280: This is what you wanted to click on.
00:05.280: And again, you know, I'm very leery to say anything negative about anything because I know that half the time it's going to be my own problem.
00:05.280: Yeah.
00:05.360: It's called The Ultimate Split, I think.
00:05.360: And I was like, really?
00:05.360: And I just want to say, Thomas from Germany, Zabo, I believe you pronounce your last name.
00:05.440: I showed them, you know, you grab a bunch of stills, you throw them in a timeline.
00:05.440: We shot this film on a really shoestring budget, and we never actually got someone to run audio.
00:05.440: I I get it.
00:05.440: Clipexporter.
00:05.520: I will tell you, I will tease this.
00:05.520: You're in North Carolina?
00:05.520: Or let's say in your case, Premiere versus 10.
00:05.520: Final cut works best when given
00:05.520: Yeah.
00:05.520: And it basically just snapshots that whole thing, copies the contents into a disk image, and it makes it
00:05.600: He's quite a bit younger than me, or I should probably more accurately say I'm quite a bit older than him.
00:05.600: I don't know.
00:05.600: We've kind of been in between with a lot of and it's funny because I think we've had maybe three projects come in.
00:05.600: And it's basically asking you to find the top one of the file the top file in that list.
00:05.600: How do you think it got overlooked?
00:05.600: Explain I'm going to let you explain T's
00:05.600: I haven't thought about it.
00:05.680: Because I know he listens.
00:05.680: Enough that I really love the round tripping in Premiere, and I really want them to bring that to motion.
00:05.680: It gets more crazy.
00:05.680: It's like 138, or I can't remember what it is.
00:05.680: And, you know, and I even said.
00:05.680: Because there is a specific ID at the computer level that Final Cut looks at.
00:05.760: Other unnamed companies.
00:05.760: And so that meant more jobs, that meant more money.
00:05.760: I mean, it's so easy to just to turn down your volume in the suite, and then you stop for whatever reason, you stop looking at the meter.
00:05.760: I w you know, I always wonder about how that works.
00:05.760: 2, I believe, does not have enough balls to push 5K video down it, which means
00:05.760: Yeah, I can't find it.
00:05.760: Which phone are you using?
00:05.840: I was looking the other day at a calendar, and when I say the other day at my age, that could be up to a year ago.
00:05.840: They'll be in little boxes at the bottom.
00:05.840: It's getting harder and harder.
00:05.840: And so we were there were three of us.
00:05.840: And it was, you know, I have no doubt that if I went back now with all the knowledge I have, oh, maybe there was a setting that was missing or something.
00:05.840: Optical flow will dr essentially draw frames in between.
00:05.840: And I said, Hey, Sasha, come here, check this out.
00:05.840: You could also do it if somebody
00:05.840: Yeah.
00:05.840: And and now, to be clear, I'm on an iMac on this Pegasus next to me here
00:05.840: I'm going to apologize in advance.
00:05.840: Leave the stars.
00:05.920: So I was checking out LiveWire Film the other day.
00:05.920: Yeah, so it's like almost nine o'clock here.
00:05.920: They do.
00:05.920: And no matter what I did, it was that whole like you tell it to link to that
00:05.920: I was told it was going to be USB three or faster, and it doesn't feel like that.
00:05.920: It'll put a little file on your desktop.
00:05.920: I'm going to give you a chance to sneak in the back door at Apple.
00:05.920: And we'll have to do this again sometime.
00:06.000: Now you're back to Final Cut, so you're kind of done the whole round.
00:06.000: There's so many resources, Twitter and forums and whatnot and stuff like that.
00:06.000: Select all, hit Command T, you're done
00:06.000: I don't know.
00:06.000: And so we've kind of carved our niche in the small business market, which we've had a lot of other video people come to us and say
00:06.000: So it's just ingrained in me now.
00:06.000: What do you think what do you think happened there?
00:06.000: Yeah, and I mean, that's true of anything, of course.
00:06.000: It's called like FCPX Exporter, I'll say.
00:06.000: I know it's out there.
00:06.000: It was the greatest thing I've ever seen.
00:06.000: It's really good.
00:06.000: It's funny because I remember when the Mac Pro I used to work at an Apple store, and when the Mac Pro came out.
00:06.000: Which I'm no mathematician, but that sounds like it's more than 5k.
00:06.000: I'm very curious to find out what your disk speed is on your NAS.
00:06.080: It was so th this was the school system, and I went through the school
00:06.080: Because I knew that with Final Cut Express or Abbott or whatever, this would be done already.
00:06.080: Not right now.
00:06.080: Wes, wink.
00:06.160: And I believe that there is a similar
00:06.160: Then the camera, which is on a camera car, starts to arc around to the right.
00:06.160: So I went back and listened to it.
00:06.160: No, you're still going to have to import, because once you're pulling off of a thing, you cannot do import and leave in place.
00:06.160: And I took a screen grab, and this is a little trick you can do with your any Retina Mac.
00:06.160: Oh no, I'm just waiting on the slow phone.
00:06.240: And so it was like: if you can tell me what happened, it helps them find things.
00:06.240: And I actually like to work.
00:06.240: It actually said that the that the resolution was um
00:06.320: Oh my goodness.
00:06.320: We actually won like a cinematography award and we were all pumped.
00:06.320: Go get Premiere now.
00:06.320: There's a few more steps.
00:06.400: And it's one of those things where.
00:06.400: And I think that there is a similar and I contend, motion is a very powerful tool, and I'm very glad that it's there.
00:06.400: And the god's honest truth is we're beating them away with a stick.
00:06.400: So a lot of our videos are owner of the business on camera.
00:06.400: Yeah.
00:06.400: I said, it aired right here: 10 million views or something like that.
00:06.400: I came in Monday morning with that knowledge from reading T's
00:06.480: It's just a lot quicker on your systems and everything.
00:06.480: And it's almost funny because
00:06.480: You are.
00:06.480: 1.
00:06.480: That was before that was like right before my full switch to Premiere.
00:06.480: Every folder that you go deeper, it just finds it a little faster.
00:06.480: But there are two levels of names or addresses, if you will, for
00:06.480: Um nothing that is
00:06.480: Not yet.
00:06.480: That's not bad.
00:06.480: Nice.
00:06.560: Uh he got lucky.
00:06.560: And what really helps, and I'm just saying this to everybody because this helps all software developers
00:06.560: You drop that on one, you get it about the tempo, the amount of push that you want, and you can adjust it later.
00:06.560: Whoa.
00:06.560: See, that's the equivalent of hitting P and final cut and just editing into position mode.
00:06.560: Now it's like, nope, no one's ever going to see that.
00:06.560: Yeah, I'll say one of the things that I learned a long time ago is
00:06.560: Goodbye, just zip them up.
00:06.560: Later, later.
00:06.640: I believe it's option D.
00:06.640: So you take this and you make that camera archive, and that archive sits on your hard drive, okay?
00:06.720: And it's well, I mean, I know I think there's probably an app or something where you can, you know, letterbox them and everything, but the actual video is square.
00:06.720: See, that's funny because I'm sitting here looking at an edit in Final Cut where I've got an interviewer or an interviewee who talks.
00:06.720: So you can't always do it, but there's a lot of times that you can.
00:06.720: It helps other people find the show.
00:06.800: You've heard me say this, I'm sure.
00:06.800: And I just realized today that you crank like two of these out a week.
00:06.800: I see the potential.
00:06.800: You are.
00:06.800: Um but h she was digging into the the you know, the D C M I D C I M folder and stuff like that and clicking on it and then saying Relink.
00:06.800: I've actually changed my workflow
00:06.800: Hey, so I've been I actually found the final cut to
00:06.800: And like, obviously, that's kind of the only way you can work in After Effects sometimes, depending on what you're doing.
00:06.800: So I think that
00:06.880: And then I'm going to take the audio from it.
00:06.880: Well you did have it
00:06.880: And it'll go it'll think a little bit and go, Oh, there oh, here I got oh, yeah, I got it, got it all, you know
00:06.880: Okay?
00:06.880: It's like NPR with the low, quiet voice.
00:06.880: And I will also say that if you are interested in maybe starting your own podcast.
00:06.960: November 19th in the evening.
00:06.960: Andrew comes by way of South Carolina film school, and now he's up there in Minnesota, which they say is in the middle.
00:06.960: Oh, what a stupid name.
00:06.960: I was like, this is going to change everything.
00:06.960: I agree.
00:06.960: Okay.
00:06.960: So just to clarify, is Final Cut
00:07.040: They're rolling
00:07.040: com.
00:07.040: It's pretty new.
00:07.120: Right.
00:07.120: But it's really important.
00:07.120: And I can't remember how it came out, but he was like, okay, so I found a bug.
00:07.120: But if you didn't need that, Express was quite powerful.
00:07.120: Yeah, there's a tweak things.
00:07.120: The remap
00:07.120: So you've got 4K cameras, you know
00:07.120: To me, where even if you had like
00:07.200: Yeah, they don't know who they are.
00:07.200: Good, because at first it didn't have multicam.
00:07.200: It was telekinesis said DisplayPort 1.
00:07.200: I have a 4S.
00:07.280: Vine.
00:07.280: And that's my thing: I've just, since day one, I've always been about, you know, how can we keep overhead low?
00:07.280: And sure enough, it was just unacceptable.
00:07.280: Yeah, so
00:07.360: This is episode 094.
00:07.360: Yeah, I will say there's a couple of things that you're mentioning there.
00:07.360: I gotta say, I haven't had this happen in a long time.
00:07.360: This would probably go for every editor, but
00:07.360: Oh, weird.
00:07.360: So you do the blade speed, Command R, put the cursor at the beginning of the pause.
00:07.360: Here, I'll I'll run it off my my Pegasus here right now.
00:07.360: Yeah.
00:07.440: So I went ahead and shelled out the money for that and was editing on Avid even after school for a little while.
00:07.440: And I think that I think it's actually a very good
00:07.440: And it's ridiculous.
00:07.440: And I was like, I'm going to reopen this thing six months later or whatnot.
00:07.440: Let me see.
00:07.520: I happened to look at it and I happened to see, oh, what's that little button down there?
00:07.520: And i in an hour this guy like totally had me set up and he's like, Oh, yeah, let's uh
00:07.520: And so, like, the truck driver, I mean, besides him standing on these mirrors.
00:07.520: I know, I know.
00:07.520: And so you drag that out and it's gonna draw you the in between frames.
00:07.520: And so in that pause, and you can't always do it.
00:07.520: Yeah, I'm going to check it out tomorrow for sure.
00:07.520: And you know, I don't know if you noticed this, but a couple of weeks a couple of days, I guess late last week, I had to go to the Apple store for something.
00:07.520: But yeah, I just think that, that would be something that as you're applying effects and text layers and everything, that that would be
00:07.600: I should really embargo all Final Kat conversations unless I'm actually recording it.
00:07.600: He pulls away by about three or four feet.
00:07.600: That seems antiquated.
00:07.600: But
00:07.680: They are going to be on the show sometime very soon.
00:07.680: I am in, well, something may say North Carolina because that's where I came from, but I'm in Minneapolis.
00:07.680: 1, and it was awesome.
00:07.680: Well, I feel more comfortable in Premiere, so I could just do this quicker here.
00:07.680: And so now
00:07.680: And whether that is inside your library file itself, which I
00:07.680: So, you know, this is how I do a podcast.
00:07.760: So there's obvi there must be something about migrating projects between machines that if you're not careful
00:07.760: Yeah, he just did that.
00:07.760: Do you turn the quality switch off?
00:07.760: Okay.
00:07.840: And you can buy just the shorts, just the loops, or just the song, or you can buy a package with all of them at a price discount.
00:07.840: Um, so uh
00:07.840: Tell me a little bit about the kind of work that you guys do.
00:07.840: So what are what are your current
00:07.840: She goes, oh, I didn't realize it was like that now.
00:07.840: Obviously, a lot of people chimed in.
00:07.840: Yeah, thanks, Chris.
00:07.920: I actually learned how to do this from my friend Frederick Van Johnson, and this is how he does.
00:07.920: Okay.
00:07.920: I think it's just a couple of episodes ago.
00:07.920: I have trained my whole life to do these amazing things that I do.
00:07.920: I must be doing something wrong.
00:07.920: I think it was just yesterday I had to open up a project and again, somebody that somebody had done in Premiere.
00:07.920: I you know, and it wasn't just the audio.
00:07.920: FCPX.
00:07.920: But it was but it was completely random.
00:07.920: That you know, you could have
00:07.920: We just got it installed about maybe two months ago.
00:07.920: Oh, that now it keeps going back and forth.
00:07.920: Open that file in
00:07.920: So I want to thank Telekinesis for tweeting that.
00:08.000: But if you haven't, you could buy a song
00:08.000: As far back as you can go.
00:08.000: I see where this can go.
00:08.000: I mean, can you imagine you could almost make a
00:08.000: I think we can forgive that.
00:08.000: And I think
00:08.000: That's going to make it about six or seven frames long, I think.
00:08.080: Yep, yep, no, it's uh
00:08.080: It is a utility that allows you to get from Final Cut 10 to
00:08.080: And that was the first thing that ran through my head was: okay, now I have a specific reason to maybe reopen Premiere.
00:08.080: It's just a free plug-in.
00:08.080: I have a very slow old phone.
00:08.160: I don't have to get on the local Comcast cable distribution network.
00:08.160: Do you know what a perfect Google is?
00:08.160: Okay, so let's let's for people that aren't attached to the Internet
00:08.160: Right, but then you trim it off.
00:08.160: You know, uh I now I'm shuttling like a like a grown up, you know.
00:08.160: So if I don't have to wait
00:08.240: So thankfully not ten o'clock.
00:08.240: So that's what kind of drew you toward ten, yeah?
00:08.240: Because that was one of my big problems with Africa.
00:08.240: And it's almost like this
00:08.320: And it's, it just
00:08.320: And that was a consistent issue with Sony Vegas is that there was this really strange
00:08.400: It might be control D.
00:08.400: You might learn about it if you check my Twitter feed.
00:08.480: Good.
00:08.480: It just blows me away sometimes.
00:08.560: That's interesting.
00:08.560: I think I mentioned this once before on the show.
00:08.560: And then the other little tip that I'll tell you: you know how sometimes when, like.
00:08.560: And
00:08.560: This was fun.
00:08.640: You said it was crashing all the time.
00:08.640: Did you know?
00:08.720: He's going to explain all that.
00:08.720: Yeah.
00:08.720: And one of the programmers
00:08.720: So that's good.
00:08.720: The thing that I really would like to see Final Cut come out with is
00:08.800: I was ecstatic.
00:08.800: And you know, be able to use my new program.
00:08.800: Yeah, there's one step that's kind of important.
00:08.880: Mm-hmm.
00:08.880: Or, you know, like when I
00:08.880: You know, I think it's I think, you know, in the same way that a lot of people shoot 4K for HD
00:08.880: Now, sometimes I have to, like, for whatever reason, I have to run away from it, and then I have to, like, oh what?
00:08.960: And some Vegas in the middle of all that.
00:08.960: And yeah, eventually Final Cut just won out because it's a heck of a lot faster.
00:08.960: And they said, Well, where did this air?
00:08.960: I'm working on this project.
00:09.040: Like, do you have any feedback?
00:09.040: Then you put your cursor at the end of the pause.
00:09.040: Yeah.
00:09.040: Yeah, no, no, no.
00:09.040: Oof.
00:09.120: Yeah, exactly.
00:09.120: And apparently so I just got a tweet from somebody today.
00:09.200: It was
00:09.200: I think it I mean, obviously, you still have to reference the media.
00:09.280: And then
00:09.280: And it still works and it still has a lot of power.
00:09.280: And I showed her how it worked.
00:09.280: You know the I think the 5k ion Mac is going to be very interesting.
00:09.360: I mean, as popular as Seven was, it's
00:09.360: And if you're having
00:09.360: Oh, wow.
00:09.360: Let me think, exporter, maybe.
00:09.360: You trim it off.
00:09.360: I think a lot of times it's just that
00:09.440: If you have not looked at Premium Beat, go check out that site.
00:09.440: Yeah, totally, I can totally give forgive that.
00:09.440: But I'll also say, and I was watching
00:09.520: It's control D, I think.
00:09.520: Somebody told me this, and I don't know how to do it, but apparently.
00:09.520: I wish it wasn't so easy for me to do something wrong so that this would happen.
00:09.520: So, by getting stuff into motion, or let's say even somebody were to come up wink, wink, nudge, nudge, with the ability to.
00:09.520: Even if you have the cool
00:09.600: And I want to get some of the old guests.
00:09.600: It's not weekly, it's twice a week.
00:09.600: What
00:09.600: Give me an example of the type of stuff that you're doing.
00:09.600: Yeah, you know, I think I told a story of
00:09.600: Yeah.
00:09.600: But the
00:09.680: Countdown to 100.
00:09.680: You changed everything.
00:09.680: Also meant you could you might be able to do two jobs in a day if you could orchestrate that.
00:09.680: Like all the video clips were were
00:09.760: But even the manufacturers.
00:09.760: And I'm saying.
00:09.840: What do you think the.
00:09.840: I was like, this looks absolutely incredible.
00:09.840: Okay.
00:09.920: Yeah.
00:09.920: I don't know if you've ever used that.
00:09.920: Okay.
00:10.000: So
00:10.000: Exactly.
00:10.000: It looks like he's got some nice.
00:10.000: Yeah.
00:10.080: Like big, you know, like like semis, like we would call semis, or European trucks.
00:10.080: So like when you select the library and say go up to File Relink,
00:10.080: 3 supports 5K displays.
00:10.080: I need you to make me this one feature.
00:10.160: But
00:10.160: So, yeah, you know, I mean, that is something that
00:10.160: So now you have a one-frame MOV.
00:10.160: I think that, that would just speed up our workflow because I'm sitting there waiting
00:10.240: You got your
00:10.240: There's a little bit of drift, you know, like a loose head sort of look.
00:10.240: So basically, what T was, and it's Peyton.
00:10.240: Yeah, I think some of those.
00:10.320: Yeah.
00:10.400: So, in the meantime, you went to Premiere.
00:10.400: So
00:10.400: I record the interview.
00:10.480: So I never ended up getting into it.
00:10.480: If they're moving their head too much, you can't do it.
00:10.480: I think because I mean, I I did a I think I mentioned this on a
00:10.560: Okay, so um
00:10.640: I've been on Premiere for a while, and I'm going to work on this and get the audio better.
00:10.640: And she's like, Oh, cool.
00:10.720: So I was directing and trying to do the boom mic at the same time.
00:10.720: And if you, if you, Final Cut is turned off.
00:10.720: He obviously heard me.
00:10.800: Yeah, 'cause I don't wanna be you know, I get accused all the time of being a
00:10.800: Yeah.
00:10.800: Okay, Control-D gets the duration.
00:10.800: Now I use it weekly.
00:10.800: Yeah.
00:10.880: Circle with red, you fill the square with green and it crashes.
00:10.880: There is
00:10.880: It's like magic uh Walt Disney uh keyframe animation.
00:10.880: You know?
00:10.880: The thing is, I know exactly how to do it on the phone.
00:10.960: Oh, really?
00:10.960: So, what were the
00:10.960: You know?
00:10.960: And I'm sitting there waiting for the render time.
00:10.960: So I click that guy, hit choose, hit start.
00:10.960: Read, right, read, right.
00:11.040: And so
00:11.120: So, anyway, I'm going to push that.
00:11.120: Yeah, exactly.
00:11.120: Now, I'll tell you another thing that I've done a few times.
00:11.200: Okay?
00:11.280: Yeah, sometimes
00:11.360: And obviously, you get your
00:11.440: Now, allegedly, he actually did the stunt.
00:11.440: It's not the new bitching ones yet.
00:11.520: Okay.
00:11.600: And he said, okay, you open the software?
00:11.600: From an editing standpoint, like, you know
00:11.680: And I know that
00:11.760: What would you have them make you?
00:11.840: Oh, it can make a jump cut disappear or whatnot.
00:11.920: And
00:11.920: And so, uh, where is that?
00:12.000: And so
00:12.160: Oh, you're the guy.
00:12.160: I wonder if I can find that quickly.
00:12.320: It looks sexy.
00:12.320: Sorry, T.
00:12.720: I guess they're just
00:12.800: No, it was a couple weeks ago.
00:12.800: Okay.
00:12.800: Let me just
00:12.800: I retweeted something the other day.
00:13.120: There wasn't any one specific thing.
00:13.120: Okay?
00:13.280: And then
00:13.520: Now,
00:14.000: But