Episode 97
FCG097 - Allowing Mistakes to Happen (feat. Vid Price)
Music Videos are a unique genre that have their own needs and demands from an editor. Vid Price spends about 60% of his time cutting these short bits of art in London and he has come to the realization that FCPX is definitely his tool of choice. In this episode we talk about some sorting and filtering methods that we have NEVER touched on in this show and you’ll rethink the way you search for media in YOUR projects. serial tv episode TL 8 day edit? 3 - compound clips as projects? scene metadata to projects like we did to compound clips… metadata on a project
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Featuring
- Chris Fenwick
- Vid Price - www.vidprice.com @vidprice
- Vid Price - vidprice.com - @vidprice
Transcription
00:00.080: You want to be keeping up and get together.
00:00.080: I've never even used it.
00:00.160: Stick around at the end.
00:00.160: We're going to talk about some of the organizational skills and sorting and whatnot that are very unique.
00:00.160: Tons of stuff to see and learn there.
00:00.160: Um, I told when I first met him, I was like, Really?
00:00.160: I do the odd little bit of drama now and again, but not as frequent.
00:00.160: and uh and I can't go to bed until I've found one that I've done.
00:00.160: always necessarily even look at the work, they look down the names and say, Oh, right, you've worked with you know, this artist that oh yeah, I know they are great, you're obviously at a certain level.
00:00.160: won the best uh one the best you know best around really and um I just uh I just did that thing of just
00:00.160: Sitting in a room with him was amazing because you would just uh you would work all the hours and spend more time with him and his wife, you know, doing and um but
00:00.160: And I always remember the juices saying to me, you know, because we that they would put it in for like an award for best editing.
00:00.160: But I just gradually kept using it and using it and before I knew it I was kind of I was using it all the time instead of Avid.
00:00.160: I'm going to assume you didn't jump into Final Cut 10 day one and say, oh, wow, this is awesome.
00:00.160: the horrible launch of Final Cut 10 that we've discussed so many horrible times in the past, and I know everybody's heard the story.
00:00.160: is more intuitive because that's what you what you know.
00:00.160: It doesn't mean it's intuitive.
00:00.160: drama together, you know, or what else have I got?
00:00.160: So that then lifts it up into a secondary storyline.
00:00.160: Of Thomas Grove Carter's that that Honda, you know, click the arb.
00:00.160: I promise you, there was a discussion with a couple of people in a room going, okay, so what do we do?
00:00.160: magnetic time line will work.
00:00.160: your instincts, right?
00:00.160: it's quite a hard thing to explain.
00:00.160: The multicam feature was released.
00:00.160: And I'd go, Yeah, I'm sick of this now.
00:00.160: It's a couple of bucks.
00:00.160: And I ran it.
00:00.160: I was waiting for dailies for four hours.
00:00.160: You know what?
00:00.160: Let's face it, you can learn good things or bad things.
00:00.160: Separates them out really nicely, and it'll give them a disclosure triangle so you can.
00:00.160: and browser section of your screen.
00:00.160: And it just so it's it's like another another layer of organization and visually, which is great because if you've got like twenty, twenty, thirty, forty clips in there, especially once you've started doing your favourites
00:00.160: I need a woman skiing instead of a man, whatever the criteria is.
00:00.160: I did a a video a little while back for an article Passenger and it was um uh it was the idea of the video is people breaking out of a mundane office and they kind of they would they would jump through like a filing cabinet and be out in the woods and then they would take their clothes off and
00:00.160: As I was going through it, I thought, oh, maybe I should have put those in one keyword collection.
00:00.160: And uh have a party.
00:00.160: You know, somebody who knows how to use the computer and somebody who knows how to edit.
00:00.160: This is another thing that you're teaching me that I had never thought about.
00:00.160: favoriting.
00:00.160: So being able to match back into a specific clip, not just the multicam clip.
00:00.160: I have one for Multicam and one for Favorites.
00:00.160: Obviously, that's quite a big comp, there's quite a lot going on there.
00:00.160: I couldn't have done that in anything else.
00:00.160: I mean that because again, all the stuff I do generally is offline, then gets conformed and onlined elsewhere and graded.
00:00.160: Isn't that fun?
00:00.160: Tom's done with his articles, particularly the Honda one.
00:00.160: That's yeah, yeah.
00:00.160: I just thought it was a bunch of people acting out with the money.
00:00.160: To do that.
00:00.160: I don't know that it warrants a whole hour, but I love the fact that people on the forums are like giving Final Cut another look.
00:00.160: you suddenly realise that it is quite a quite a small group of like twenty, thirty people that comment and two hundred and seventy who don't, you know, who are
00:00.160: I still think like there's so much in here I haven't discovered yet.
00:00.160: And then actually I found it really irritating.
00:00.160: Do you know what I mean?
00:00.240: There's some missing features, and without them, you can't possibly get into it.
00:00.240: It is amazing the amount of content that is on their blog.
00:00.240: Um do you pronounce your name Vid?
00:00.240: But yeah, I mean, there is that point as well that a lot of the time these days when people are looking at you for to do a job, they don't
00:00.240: for however long he was assistant.
00:00.240: what I'm looking for here is this, and what I'm doing here is this.
00:00.240: Yeah, I think I totally agree.
00:00.240: I I went to film school because Avid back then was, you know, what, twenty five thousand pound a you know, a machine or something.
00:00.240: to say, I'm going to slow down and mentor the kid, because it is going to take make me work a little bit slower.
00:00.240: They can and they can cut, you know, they can they can cut, but there's a difference between being able to cut and then, you know, really knowing it.
00:00.240: It was the fact that here are these giant names in the film industry that are being relegated to, you know
00:00.240: Yeah, that's fine if you want to make my name that small in the frame.
00:00.240: I did one video for a band called The Kills, which was directed by the actress Samantha Morton, and it was just the the two members of the band in a photo booth.
00:00.240: there's more editing in those six shots than there are in a music video that's got two hundred edits.
00:00.240: And he said that what really worked for it was not and was pulling back and actually doing less.
00:00.240: And then all of a sudden you get a chance to do something that's like, oh, wow, this is something that all my friends are going to know this artist.
00:00.240: system which I cannot for the life of me remember something like FastEdit or something like that.
00:00.240: really high profile band and sort of sitting again and being there and cutting it and sort of presenting it and thinking, Did I just do this?
00:00.240: And yeah, so I just kind of learnt Avid.
00:00.240: to do it and you know, I used to remap the keyboard to make it quicker and easier.
00:00.240: You know, my background is more in graphic arts.
00:00.240: the idea of just you know picking up moving and drawing and and whatnot just f just felt very comfortable to me and I think I think when I did own an avid for a short period of time in the late nineties
00:00.240: were pretty rubbish.
00:00.240: you know, we both sat there like uh what the hell?
00:00.240: And then in a few years' time, when it will inevitably be starting to be used more, we'll be a little ahead.
00:00.240: Yeah, exactly.
00:00.240: Two together, so wherever you moved in one, it would move in the other.
00:00.240: you know, you when you load a shot and it's it's perfectly in the right place.
00:00.240: What you're doing slightly is arguing semantics.
00:00.240: Yeah.
00:00.240: then I will label the alternative way of doing it a workaround, which, as we all know, is a derogatory term.
00:00.240: But I like to look at it as this is just the way I do it now.
00:00.240: First of all, explain to me, and I know that Scott or Scott probably tried to explain it to me, but I'm just a little thick this way sometime.
00:00.240: They're both still in sync.
00:00.240: If you then move a minute in on your if you're watching your clip, you minute in, you think, oh, yeah, I like this bit, I'll put this bit into the into my time line.
00:00.240: and then you move back and you s keep going like that.
00:00.240: The far right one is where you turn on you used to turn on like the way the wireframe or the camcode overlays.
00:00.240: Ah, this kind of makes it useless to me because I think a lot of people who use multicam will have maybe eight, nine, ten angles
00:00.240: something like that.
00:00.240: And then I go through my clip and I still pick the bits I like, but what I now do is I now delete the part before the bit I like.
00:00.240: And then I keep going through the clip, pulling things out like that.
00:00.240: the key thing to this is then dropping it below the primary storyline, so I can then redrag out my multicam, flip angle.
00:00.240: That's right.
00:00.240: Clips above the primary storyline, and you drag one clip past another one, you know, as if they're going to butt together.
00:00.240: That's a very good comment.
00:00.240: the reverse is true.
00:00.240: Right, you might go, and it might have just left two frames of it.
00:00.240: Yeah.
00:00.240: And not necessarily take one.
00:00.240: Is it this one's better?
00:00.240: There is an app on the um on the app store called Screenshot Time Lapse.
00:00.240: And I could see he was a great editor even then.
00:00.240: And then all of a sudden it's like, oh, new 10.
00:00.240: The guy was doing a a serialized, you know, T V episode of something, you know, I want to say like CSI or something like that, of some American television.
00:00.240: Yeah, yeah.
00:00.240: of their edits.
00:00.240: Then what I do is I go through those takes and I'll add metadata to the scene, the scene metadata within that, within the clip.
00:00.240: And then there'll be driving car, do the same thing.
00:00.240: You sort by by scene also.
00:00.240: Oh, no, no, no.
00:00.240: If you need to, you can search, and those what you've added into that scene metadata is then searchable within that keyword collection.
00:00.240: Before on the show, I mean, I have talked a lot about using the the filter.
00:00.240: And I've talked a lot about how you can use that filter and the fine box in conjunction with each other to
00:00.240: Hide rejected, or you could filter by favorites.
00:00.240: to sift through your data.
00:00.240: The group clips by.
00:00.240: Is today's day, November 5th, 2014, and it'll say, you know, like stock footage or purchased footage because I know that that's full resolution and it doesn't it's not watermark
00:00.240: The two separate scenes.
00:00.240: it's very important that we in the twenty first century that are you know we are computer savvy people, I hope.
00:00.240: they'd sit down at the computer and if they weren't looking at the Avid interface, if they were looking at the desktop, they'd go, Ah, yeah, this thing's broken.
00:00.240: and control clicking, meaning you'll select the top the top thing in the list and the bottom thing in the list, or anywhere in between, but not the stuff in between.
00:00.240: And that affects what you are browsing in your browser.
00:00.240: My two-camera interview was done on card one, you know, A1 and B1.
00:00.240: And now I have all the interview stuff together.
00:00.240: metadata you add, and the more I'm doing it, the more I'm adding.
00:00.240: doesn't need to be attached to it.
00:00.240: So I used to do before we got in ten one, before we got the the library, um, I used to do the whole compound clip
00:00.240: if it was a commercial, I could add all if I'm doing a thirty and a fifteen, I could add the scene metadata of thirty to the thirty seconders, fifteen to the fifteen, et cetera.
00:00.240: Say you're on edit 15 or something, and you present your cuts, and or you want to present one or two, you know, once you've got to that stage, like, I don't need to see those other 14 cuts, you could just favorite cut 15.
00:00.240: called zero zero sequences.
00:00.240: I always put the most recent one in there.
00:00.240: Yeah, yeah, yeah, sure.
00:00.240: Google Hangout on November 19th, and we will take the audio from that, and that will be the November 21st episode, and that will be episode 100 of the Grill.
00:00.240: and invite you to be a part of that recording.
00:00.240: It's just kind of a milestone.
00:00.240: Top 200 type things, and it's very cool because that's how people find the show.
00:00.240: I have a couple of other questions I'd love to ask you.
00:00.240: Hey, we're back.
00:00.240: How many cuts are in it?
00:00.240: It's called Labyrinth by Let It Be.
00:00.240: That held the camera, and I don't know what it was.
00:00.240: And then they would take a bit of the set away and film it in the next place.
00:00.240: And and that I couldn't have done I don't think I could have done that as well if I wasn't on Front Cut 10 for various reasons.
00:00.240: when he's playing the guitar, that's one role.
00:00.240: fifteen, sixteen layers going on, I can just look on the roles, I can, you know, use the timeline index and just look for guitar and it highlights it.
00:00.240: and then comes up to like a it's almost like a there's a Rolls-Royce and there's like someone it basically like a car sh showroom is the idea of that scene.
00:00.240: The only thing they painted out really was the big the big motion control track that's running down the middle.
00:00.240: to that extent I did it.
00:00.240: In the UK, at least, and a couple of the other guys where Tom works at trim.
00:00.240: who's not using it, they wouldn't have been able to do it as good as that.
00:00.240: Oh my god, this is amazing.
00:00.240: They can quickly see in the scene and go, oh, that was great.
00:00.240: Almost guarantee you he would put that on fcp.
00:00.240: But yeah yeah yeah, so no, I need to do it, I need to do it.
00:00.240: That normally slate Final Cut 10.
00:00.240: Gave him a lot of flexibility to be able to work with it the way he needed to have the piece come together.
00:00.240: Father taking my kids to school by day, but I'm robbing banks at night.
00:00.240: you know, I suppose to a lesser extent because it's not public, the uh the Illuminati uh group um is that you know
00:00.240: a small percentage that actually get involved and there's potentially hundreds or thousands in certain cases of lurkers.
00:00.240: And I've said this many times.
00:00.240: was his his point about saying, oh, that's all the stuff the assistants do and I don't need to do that.
00:00.240: a certain level of touch time with the media and it allows you to become more familiar with it.
00:00.240: Call it an assistant editor, but we, you know, I have people that help me prep jobs just so it allows me to do more of the heavy lifting on more jobs.
00:00.240: you know, the loading in and sorting and renaming or whatever is it's I I think it's very important, and I agree that it gives you.
00:00.240: And they sit down day one, you know, edit one, and they start talking about something at full speed.
00:00.240: You're going to have to tell me what this is about because I don't know anything yet.
00:00.240: Yeah, did you ever try it?
00:00.240: And their standard workflow would be to take a long interview, subclip it, and then rename the subclip.
00:00.240: I want to look at just my favorites and not the other checkbox used, keyword synced.
00:00.240: Yep.
00:00.240: Like, I don't even know, is there a way that you can twirl down all the disclosure triangles at once?
00:00.240: It's probably just a bunch of bad podcasting.
00:00.320: cut for Honda.
00:00.320: Talking about the new website.
00:00.320: So welcome.
00:00.320: So Vid, you found me via Twitter.
00:00.320: When asked by potential clients, hey, can you show me some of your work?
00:00.320: Sometimes if I k get home from the pub and I've maybe had a maybe had a couple of drinks, I sometimes play uh play the game where I just flick through the music channels
00:00.320: So the sort of work comes like that now really.
00:00.320: Who was it?
00:00.320: in I think it was about two thousand.
00:00.320: And this genius editor called Nicholas Wayman Harris, who's now who's now stateside actually, he's over in LA, and he's just an amazing music video editor.
00:00.320: worked every hour I could and just learned.
00:00.320: So what was that?
00:00.320: a um an inter uh uh audition and then uh and then i guess just yesterday he backed out of it yeah yeah i mean i guess you you know you know what you're gonna get when you
00:00.320: once I'd kind of done my thing and he was doing his thing, I just used to sit next to him with my feet up with a you know, with a can of coke and he'd just sit there and just be going
00:00.320: how to really do it.
00:00.320: to learn as we all still do, don't we?
00:00.320: the movie The Secret Life of Walter Mitty.
00:00.320: any sort of a product or a show where it grabs us.
00:00.320: What do you see?
00:00.320: Underneath the edge of an overpass and making it look like it's paint that's twenty years old, you know, and them being okay with the fact that
00:00.320: The stuff I really like actually is when it's really there's not much editing going on at all.
00:00.320: when people hold back and hold back and don't just kind of hit you in the face straight away.
00:00.320: And yeah, it was kind of quite a weird feeling really to kind of gone from doing little small videos for your mates and stuff to then suddenly like a
00:00.320: And off you go, really.
00:00.320: editing and all that when I was at first at college and then some really basic nonlinear editing
00:00.320: As soon as I did this one exercise on it, I was completely hooked.
00:00.320: The person who activates tracks, targets tracks, everything is mark in, mark out, target this track, lay it in, everything's off the keyboard.
00:00.320: Television in the eighties because the editorial tools that I had access to
00:00.320: You know, they got to the point where, oh, this very same computer I could edit video on.
00:00.320: I found it to just want to fight me every time I tried to touch something.
00:00.320: Well, obviously, like a lot of people, downloaded it on that first day.
00:00.320: what we both tried to do was, well, let's learn this and because everyone else is dismissing it.
00:00.320: go down into a time line and then have to go and find the middle eight to put it in at the right point at the right time code.
00:00.320: There isn't a I've come up with a way around it.
00:00.320: Yeah, you worked around it, but it's still a problem.
00:00.320: Then choosing a finding an alternative way of doing it because my historical frame of reference is Final Cut Classic.
00:00.320: There was a little icon at the top of the window where you could click it and it would gang the two together.
00:00.320: forward, backwards, they're always going to be moving at the same place together.
00:00.320: That's correct.
00:00.320: that your clips at, so you just drop it in and keep moving and you chop things in, you chop things in.
00:00.320: Yes, in Final I just bothered to launch Final Hut 7 for the first time in a long time.
00:00.320: Open and gang.
00:00.320: And I mean, that's the other obvious reason why I couldn't use it because there was no multicam at the time.
00:00.320: So I didn't really know how I was going to get around that at the time.
00:00.320: So my alternative was in the end to multi clip everything together.
00:00.320: I now I lay that in my primary storyline and then I will you know there'll normally be I'll make sure there's some black at the front of it of the of the Multicam.
00:00.320: and then delete the part afterwards.
00:00.320: Now what I do is I go back to my multi-clip at the front of the timeline, which is has been bladed so I haven't deleted it.
00:00.320: I would then drag that out, switch angle, blade it again, and then do the same process again and again like that.
00:00.320: What I then do is I then use the was it?
00:00.320: And then the other angle, the other you know, the alternate universe, whatever you want to call it, was in a secondary storyline above the primary storyline with all of its associated audio above it.
00:00.320: that you are trying to drag past will jump up out of the way, right?
00:00.320: Ostensibly, it's because you want to look at that.
00:00.320: I will promote this above the previous shot.
00:00.320: engineer, do you know what I mean?
00:00.320: Yeah, I just your your brain stops you from doing normally, I think.
00:00.320: I leave that.
00:00.320: I think it would be fascinating.
00:00.320: And on a two I will say that on a two screen system, I don't know if you edit with two screens or one, it actually does make a giant wide canvas of both of your screens.
00:00.320: all of their forty, sixty tracks all on top of each other and just pull bits out and then but they've still got sixty tracks and it's like, Christ, what's at the top?
00:00.320: And then what I would do is I would go through and watch those nine angles.
00:00.320: I could fair I could very easily have lost misplayed some really cool little bits because this was good enough.
00:00.320: And that's why I d you know, a lot of people make the mistake of trying to make and this is true of any edit, I suppose, trying to make an edit perfect on the first go.
00:00.320: Five six run-throughs on the guitarist and six on the singer or whatever, but I don't watch them back to back.
00:00.320: Yeah.
00:00.320: How much time I spend procrastinating.
00:00.320: Yeah, I was very lucky.
00:00.320: you know, I'll keyword a scene of something.
00:00.320: What you're talking about is in the right above the control bar, if you will, and the very bottom of the libraries
00:00.320: If I hover over that, yes, it says choose an option to filter.
00:00.320: And the bit after the part I used.
00:00.320: Content created.
00:00.320: if they will they will do that, but they will also it's clever enough to know that if they both name the same thing, so like, um, uh you know
00:00.320: Yeah, I think what this really boils down to, and this is something I've talked about before on the show, is there is an absolute and distinct difference between looking for something and searching for something.
00:00.320: And in Macintosh parlance, or I guess in all computer speak, that's called a noncontiguous selection.
00:00.320: So then, Vid, let me ask you the famous last question.
00:00.320: it's you can't really match back a multi if you match back in a multicam, it will take you back to the multicam.
00:00.320: stars and flags and whatever.
00:00.320: But then sometimes once you've been through the edit, you think, oh, do you know what, can we go through and reselect and just narrow those selects down?
00:00.320: thing for doing my projects rather than projects.
00:00.320: and then just sort by favorites.
00:00.320: or projects if there's multiple cuts or directors' cuts or multiple jobs inside this one job.
00:00.320: higher vid price or want to see more of your work, what's the best way to find that?
00:00.320: Very cool.
00:00.320: So if you have not heard from me, it's because I'm procrastinating.
00:00.320: So, I have some specific and but but if you don't mind, I would like to have this be like, you know, a secret ending of the show, like let it go an extra 20 seconds or whatever, and then all of a sudden there's like
00:00.320: Oh, yeah.
00:00.320: go to Vid's website, vidprice.
00:00.320: the camera goes past that maybe three times across the whole thing.
00:00.320: So there's that part.
00:00.320: in that speed on Final Cut 7 for sure or anything else, you know, having those tracking mats with Slice X in particular just made it, you know, made it a breeze.
00:00.320: play with that thing.
00:00.320: It was great for that.
00:00.320: No, exactly.
00:00.320: To remember what I skimmed through.
00:00.320: Um, do you ever have any um uh interaction with um with Peter Wiggins?
00:00.320: You're talking about FCPX, what's it called?
00:00.320: Yeah, yeah.
00:00.320: Yeah, yeah.
00:00.320: There's some people on there who are so good technically who could answer anything like think of like Ronnie is it Ronnie Cortens, Ronnie Cortens?
00:00.320: Yeah, it was really clever.
00:00.320: you know, good editors and and and you know, we've got assistants where I am, and they always say I'm like I'm the easiest person to assist because I basically don't use them.
00:00.320: But you're going to have to bring me into the fold a little.
00:00.320: giving you can give a whole bunch of clips a scene name, and you know, which sits above all those clips and almost like names all of them in one go for you, you know, in that sense.
00:00.320: And although this is still I'm still going to make this public, I want to ask you a question.
00:00.320: Fort Lauderdale and tell them they think he's ridiculous.
00:00.320: And then you click where it says favorite, the green triangle.
00:00.320: So then I search if I filter by favorites, I still see the clip, and I have to twirl down.
00:00.320: So if I have multiple things, when I look at that clip in list view, I see the clip in the disclosure triangle.
00:00.320: I think that will open that will open all the disclosed triangles in one go.
00:00.320: those happy moments in between the shots.
00:00.320: Well, thanks.
00:00.400: Uh yeah, yeah, basically, yeah, it's uh taken a while to get there, but um yeah, I mean most most of the bands um
00:00.400: Bands and Ost I work for of, yeah, all pretty mainstream.
00:00.400: sit in and assist one person anymore in that kind of style.
00:00.400: there is a lack of I don't know that it is respect of the young people, of the old people, or if it is just respect
00:00.400: Or just a feeling that, you know, hey, you know, I got this.
00:00.400: to get anywhere near it other than you know be a runner or go to film school.
00:00.400: The end of, and I can't remember what song it is off the top of my head now.
00:00.400: Um but I I just got the bug um and I hadn't initially intended to get into editing at all, but it was part of the general course I was doing and
00:00.400: And I started doing, you know, show reels on it and stuff like that.
00:00.400: And I'm very much although I do you know, I'm pretty good with keyboard shortcuts, a lot of times in the editorial process, I'm basically just drawing rectangles on a screen that represent the length of a clip.
00:00.400: you know, and and not be having to keep pressing buttons and going to modes to do it.
00:00.400: two or so.
00:00.400: kind of liked it, but it was that thing of those things that were missing that blah blah blah has all been through.
00:00.400: A lot of the people saying that have used Funcut 10 on a job, they've had to use it, they've learnt it for a week or so, and then they're comparing that with maybe ten, fifteen, twenty years of experience on Avid.
00:00.400: The timeline to the bin, explain to me how that would work in Avid, and then we'll work on your alternative method.
00:00.400: you know, like run throughs of a music video, which can happen, you know, you need to watch every single clip on its own.
00:00.400: What you're talking about is really interesting, and it kind of blows people's minds if they haven't seen it before.
00:00.400: six frame piece you think's great, lay it down, or you pick out you could pick out a piece that's five seconds long, but then over the course of the next ten takes you've gone through, you might just go over though that clip with a couple of bits.
00:00.400: on multiple takes.
00:00.400: And it was astonishing to me because what you know my technique was definitely different than what you've done.
00:00.400: will be in the final edit.
00:00.400: Group clips by scene.
00:00.400: At the top of the browser, you have two little tools.
00:00.400: You know, new stock footage or something, but I'll prepend, is that a word?
00:00.400: And it's interesting, if I used this in the sort command, or the excuse me, the group command, I could group by
00:00.400: filing cabinet jump, when you click those two together, when you look in it in the combined keyword collection that it's going to show you
00:00.400: you know, the old timers who, you know, when I mean, I've actually seen people who will like sit, and this is you know, this is a long time ago, granted, but
00:00.400: How do you get this job?
00:00.400: Seen, and they're nicely grouped into 30 seconds, 15 seconds, 10 second cutdowns, whatever.
00:00.400: Follow the rules.
00:00.400: might seem obvious is I you know I have a keyword called project rather a smart collection called projects.
00:00.400: All right, Vid, thanks for sharing David Vid.
00:00.400: In wide distribution.
00:00.400: and I appreciate all of the comments that I get on iTunes.
00:00.400: You know, probably 20 or 30 little sets in a big warehouse.
00:00.400: um they added glass into that part where he's behind the um where he's that's in the in the still where he's on the microphone.
00:00.400: that size.
00:00.400: Oh yeah, yeah, yeah, it's giant piece of glass.
00:00.400: which was which was great, you know.
00:00.400: Yeah.
00:00.400: I take it you're gonna get him on to talk about it, right?
00:00.400: Oh, that's what I love about your podcasts and fcp.
00:00.400: A lot of the time, you don't actually need the assistance to do that stuff in the first place, you know, because you can do it quickly.
00:00.400: and get into stories and, you know, I feel the same way.
00:00.400: Definitely.
00:00.400: The actual email I got from somebody just the other day.
00:00.400: Well, not really angry, but a little bit angry.
00:00.400: when I then come to edit it on the timeline, when I click that favorite and just hit to the timeline, I haven't then got to find the end of the quote.
00:00.400: of doing kind of a you know laying down an interview rather than using markers.
00:00.400: Defavorite that.
00:00.400: You know, he sent me highlighted bits.
00:00.480: His primary thing is music videos.
00:00.480: And I gotta say, I walked away and I learned stuff.
00:00.480: But I love the tactile feel.
00:00.480: Scott Simmons mentioned it before on Avid actually, I think on might have been on your Digital Cinema Cafe one, possibly.
00:00.480: Does it do the job?
00:00.480: that would then mean that at the point you've put your time line, you've put them both together.
00:00.480: Yeah, and the way I do that, I kind of miss a little step there after I've gone through my take and I've got my, say, five or six clips
00:00.480: So when you if you have if you haven't done that in a timeline, it kind of blows your mind.
00:00.480: Editing the wrong way.
00:00.480: Oh, I love this, this, this.
00:00.480: So, I guess I'm going to give 29 the priority.
00:00.480: But I would be fascinated to watch a time lapse of you doing a whole music video.
00:00.480: you know, maybe doing a few extra little bits, but essentially it's balancing.
00:00.480: Are the things that you just can't live without now?
00:00.480: say there's it the car will be broken up into getting into the car.
00:00.480: The individual sections.
00:00.480: those will be in the same scene heading.
00:00.480: of viewing, of sorting, of seeing.
00:00.480: add scene metadata, favorites, blah, blah, blah, to projects.
00:00.480: Um and uh the edit house I I cut through in London is called the Assembly Rooms.
00:00.480: I see this on a so I just got to say, I see that piece on an editor's demo reel or website.
00:00.480: And then they would film him in one location.
00:00.480: basically, comping him in because it's motion control, the takes match up exactly.
00:00.480: I cut it in.
00:00.480: again, just kind of various uses of meta because especially the end, the end when the camera pulls back and there's all the different ones of him
00:00.480: The clip half time the clips are cutting off because you know, you've got what a four or eight point mask which can't animate, or you have to manually do the key for.
00:00.480: No, no, they didn't.
00:00.480: No, you tell me I I'm done.
00:00.480: Yeah, that would be pretty awesome, right?
00:00.480: And I think some stuff I read on Twitter this morning, somebody would, I think it was Thomas even saying that the magnetic timeline and the connected clips made it really
00:00.480: David, it is come on, find it, find it.
00:00.480: Right arrow and left arrow will D disclosure triangle all those clips.
00:00.560: And it's fascinating.
00:00.560: It always kind of amazes me always that people at that level kind of still audition for stuff.
00:00.560: What are the things that like that you're attracted to?
00:00.560: You know, I've always said to Kevin that I see him as like a real editor, meaning, and I'm kind of sort of a hack, but to me, to me, the difference is
00:00.560: So when you would you could kind of sync your canvas and your browser whichever way around it's called now, you could sync the two
00:00.560: And I had this not argument as such, but on a lot of the forums with people user having, you know, and I used to as well.
00:00.560: is about the thing about workarounds wasn't it?
00:00.560: That is the definitive way of how it is done.
00:00.560: you can then once you've got them all on your time line, then I would use the multicam to change angles in there.
00:00.560: So that was like a major stumbling block.
00:00.560: One of the things I learnt from Nicholas, who I used to work with, was this kind of idea of
00:00.560: So, so yeah, so once that is done, you know, if you've gone through 60 clips like that and you're dropping them below and you know, you're making decisions as you go.
00:00.560: And you know, then he just went from there and was just, you know, yeah, obviously he's amazing.
00:00.560: But obviously, you're not stuck with them because you can put a blade in and you can cycle your angles, like say if you feel you've got too many shots of the singer
00:00.560: Explaining it's quite difficult.
00:00.560: nine angles to be sort of my hero angles.
00:00.560: And again, my background live, I can watch nine feeds and you can sit there and you can just tip tap on your keyboard and you could screw it up a million times from Sunday.
00:00.560: Don't bother.
00:00.560: And in the course of doing something like that, you know, you're searching, you're seeking stuff out.
00:00.560: And so that was in my one side of it in the office was in one keyword collection.
00:00.560: So and also if there is a problem with the multicam for any reason, say if the stuff was your footage was transcoded and
00:00.560: Heavy use of um SliceX, uh the plug-in.
00:00.560: And they run the camera would obviously run the whole scene, yeah, the whole move for the whole track.
00:00.560: You know, I gotta say, I'm feeling like a total dope here.
00:00.560: So it's multiple hymns.
00:00.560: So using SliceX, my offline looks pretty much almost like what you see there, which I couldn't have done
00:00.560: you know, I'd already got a load of it cut, so they didn't really care what I was cutting on as long as and they were just like, I can't believe that's the offline.
00:00.560: I you know, again, I'm making the fool of myself.
00:00.560: Like, when the only thing they've ever been able to flag up, and it's a ridiculous thing, is people just talking about audio and just like, oh, why would you have audio above and you know, track and coming back to the whole track thing?
00:00.560: it is fascinating, it's rewarding and it's a little bit maybe, can I say vindicating when some of these landmark projects come out and people go, oh
00:00.560: you know, in that list view instead of the favorite, you know, I name it there.
00:00.560: Regions in a clip favorited.
00:00.640: Fascinating.
00:00.640: So what is it that you see in a music video where you have that sort of lean forward moment where they get you?
00:00.640: And there's a point in it where the Edge is in a recording studio and they have the two inch masters loaded up on a machine and they're going through
00:00.640: kind of uh there's always a transition to like yeah I did this music video for my my buddies down at the pub
00:00.640: I started using it a bit in the background when I was using Avids and when I first got it, I didn't like it.
00:00.640: I take it that's what you started with?
00:00.640: broadcast ready.
00:00.640: And I didn't have to push it up to slide to the quote unquote track two to slide a background plate underneath it.
00:00.640: Which, you know, apart from I I find that kind of odd sometimes.
00:00.640: kind of as different to what you were saying then about front loading.
00:00.640: I tell you what I will do.
00:00.640: All right, I've got three.
00:00.640: So that would that would be amazing for me anyway.
00:00.640: Oh God, loads.
00:00.640: See, I don't see where's the car?
00:00.640: If I could hold down a keyboard shortcut, maybe command, option, control, or something, and then use my scroll wheel
00:00.640: this labyrinth story would be a good story too.
00:00.640: Who is that?
00:00.640: So by doing that, this person has basically almost like a very rough transcript of what that interview was about, because this is a long-form documentary.
00:00.640: And I have to disclosure down to see all the keywords, all the favorites.
00:00.640: That would be, wouldn't it?
00:00.720: comes from London.
00:00.720: Do you know what?
00:00.720: Teach me anything you want.
00:00.720: 07, 08?
00:00.720: I had this thing and I thought, oh, Avid has been made by editors and Final Cut's been made by programmers, you know.
00:00.720: Did you find that coming from Avid that you were very keyboard driven like that?
00:00.720: the way you're used to doing it.
00:00.720: Selecting my new bits from there.
00:00.720: precedence in priority over the one that you are dragging past.
00:00.720: trying to allow mistakes to happen and that mistakes aren't bad.
00:00.720: alive and interested in what you're seeing.
00:00.720: It's big, fifty, nine hundred pixels wide.
00:00.720: Yeah.
00:00.720: would be I can't remember what I called it once.
00:00.720: And you know, it's just the concept of remembering about where that was is that's nowhere near that's going to happen.
00:00.800: Temptation at the end of that song to just let the guitar part completely, you know, go wild.
00:00.800: And a lot of people will use it in a live kind of way, switching to angles as they go.
00:00.800: I was like, oh yeah, that was really boring to watch.
00:00.800: You can still look at it in the icon view, but they're going to be divided up by entering car, driving car, breaking car, crashing car.
00:00.800: Let's say I have a clip that's ten seconds long and I've used three seconds from the middle of it.
00:00.800: Try it.
00:00.800: the time code was was wrong for whatever reason, it's a horribly laborious task to go through and eye match all the wrong shots because you cannot match back.
00:00.800: Because it was really big in social media a while back.
00:00.800: Yeah, and that thing is working when you fly across your bin to go up to a certain clip and go, oh, that bit you went past.
00:00.800: I don't know conceptually what it necessarily means.
00:00.800: Well, you know, in all honesty, that's pretty common in any sort of organization or group or gathering.
00:00.800: And I know I should, but I just my mind is jello.
00:00.800: But you can't rename the favorite.
00:00.800: So what I I mean, I don't know if this is exactly what would solve that issue, but what I do, and I've done some kind of commercial stuff where they've got an interview, they might have interviewed a guy for an hour
00:00.800: So rather than going back finding your marker, but you've got your marker, but you don't necessarily know exactly where the end of the answer is.
00:00.880: And we could talk about that.
00:00.880: It's probably sixty percent seventy percent.
00:00.880: And so you put it below.
00:00.880: Or however you want to do it.
00:00.880: And he did a time lapse of like it was like a eight day edit, I think.
00:00.880: When a keyword collection or something, one thing I do all the time now is I, once I've
00:00.880: Some things as like, oh, I know that song.
00:00.880: if I needed to change it, something, oh, you know, what's the other take of him in that in that position like?
00:00.880: A lot of the time, those things he was saying that he you know, that he wanted assistants to do is like, I actually want to do some of that stuff.
00:00.880: And that thing without using the scenes, the the other thing that I used to do, especially in Final Cut seven, and this has been a massive time saver, I used to like rename all my clips, you know, because I'd need to know
00:00.880: what they were rather than just the A004, C0003.
00:00.880: What did I just do?
00:00.960: It was the angry guy, Christian Bale, who got accepted to do the Steve Jobs biopic, apparently without.
00:00.960: And then it was about six months I the person who was assisting him left and then the way it used to work with him is Nicholas would you would become his assistant and then you'd just get this intense training
00:00.960: Yeah, it was amazing actually.
00:00.960: In relation to music videos, which was the thing was like, I really like this, but I can't use it for a music video.
00:00.960: really, I think you generally you wouldn't have chosen to have edited it like that, but these are the things that give it life and create some of the some of the best some of my best edits have been done like that.
00:00.960: And so it's that thing of trying to turn that filter off in your brain to allow you to make some of these happy accidents sometimes, which
00:00.960: That was my excuses.
00:00.960: obviously there's a lot of layers going on, but using roles, I would assign I could assign different roles.
00:00.960: And there's one in there's some glass in front of the car as well, which to get a sheet of glass that big is cost a fortune.
00:00.960: No, there's the wrong.
00:00.960: And it would say, oh, everything I just played out to the monitor is fair game for me to scrub backward through.
00:00.960: But it was kind of it was kind of interesting all that.
00:00.960: There's mice.
00:00.960: It should do that, right?
00:00.960: Not highlighted, but screenshots of the avid timeline or the avid bins.
00:01.040: So, yeah, parents, everyone, they all call me Vid.
00:01.040: So then I kind of I just migrated for onto Final Cut seven, which I used for you know until a few years back.
00:01.040: You're going to go through the first primary take, whatever, and you're going to go, Yep, love this, this, this, this, and this, and this.
00:01.040: Yeah, no, I think watching people work is fascinating, and I would encourage
00:01.040: It's great.
00:01.040: Or like, wait, you're done?
00:01.040: I I've worked with the the directors before.
00:01.040: Bad radio.
00:01.040: So rather than do the marketing, which I know I've heard you talk about and various other people, I do the favour I just mark I do an in and out on their answer, mark it as a favorite.
00:01.120: used to call his name is Robert, and used to call him Bert, and it used to irritate him that I found that amusing.
00:01.120: He cut like he cut like, you know, one angle was on the primary storyline with all of the associated audio bits and bobs below that.
00:01.120: So for example, in a performance video, sometimes you can get some amazing little flash cuts, one, two frame things, which are actually quite hard to kind of
00:01.120: Sometimes if you watch six takes or something back to back, you kind of think, oh, I've just seen that in the last one.
00:01.120: This is in yeah, in okay, so this is actually a very good thing because this is not something that I normally get into.
00:01.120: you know, it can just end up with one big mass of stuff.
00:01.120: So a bit like in Aperture, where you can have you know, you not just only favorite something, but you can add
00:01.120: And if you've got sixty run throughs on a performance, that is a job you do not want to be doing.
00:01.120: Is there like a bit of a visual shorthand?
00:01.120: Oh, my email box.
00:01.200: Hello, good morning, and welcome to another episode of The Grill.
00:01.200: E everyone always says, oh, that's convenient, isn't it?
00:01.200: So what was the one what was that deal breaker feature that you needed for the music videos?
00:01.200: if I've got a couple of options generally, I try not to give myself too many options.
00:01.200: He actually had to drop in some lower thirds where there was and it wasn't just his screen.
00:01.200: What tell me about it?
00:01.200: Those days are long gone.
00:01.200: Something that would lead them to believe that they knew what that person was actually talking about.
00:01.280: And it was a massive learning curve.
00:01.280: I'm it's a funny one.
00:01.280: And yet, in fact, I remember when you did this on the on the thing with Scott, I remember you actually editing it out because when you're saying it's like, ah, someone else, someone else does that way, and then you cut it out, it's like, oh
00:01.280: I leave that 'cause sometimes that can be interesting when you play it back.
00:01.280: You know, you can still do compound clips if you want.
00:01.280: That's quite a good way as well.
00:01.280: I'll let you go.
00:01.360: There might be some extra stuff.
00:01.360: We mentioned that.
00:01.360: And yeah, I got to work for a small little company, which again, I always wanted to be a small, nowhere big.
00:01.360: Yeah, can I is it fast?
00:01.360: So but yes, basically you would line up your point of reference, let's say the beginning of the track, in your time line and then on your clip.
00:01.360: If you're pulling out shot number one to extend it beyond the first frame of shot number two,
00:01.360: Yeah.
00:01.360: What would you call it in Funkut 7?
00:01.440: How long have you been in this business for?
00:01.440: So for me, with Walter Mitty, it was the opening title sequence.
00:01.440: Something like that?
00:01.440: And then I got into a lot of um you know, corporate speaker support stuff.
00:01.440: Maybe we're supposed to be editing below the primary story.
00:01.440: So it's not just one big mass of clips of various stages of that scene.
00:01.440: Use it how it's intended to be used.
00:01.440: See, today is the Monday show and we are rapidly approaching 100.
00:01.440: Okay, so I am going to do something.
00:01.440: Hey, what did you think of T's morphing transition?
00:01.520: It wasn't easy to just pick a clip up on the timeline and drag it and move it.
00:01.520: That is correct.
00:01.520: If you drag your clip out, the one you're dragging pass will drop underneath rather than go on top.
00:01.520: They did a song, and it was interesting.
00:01.520: Just get into it.
00:01.520: Like I say, I don't really have that very often.
00:01.520: And the directors were just they were blown away.
00:01.520: The thing I always find at Directors Lab is the fact you can skim through your clip, you know, if you've got your scene that you haven't got to drag a clip up, double-click it, open it, you know
00:01.520: That was really clever.
00:01.600: That's the thing with the the the R key when you watch it on YouTube and you hit the letter R and it keeps flipping over and reversing to the other side of the video, if you will.
00:01.600: It was amazing.
00:01.600: And I just didn't I didn't wanna I don't wanna I don't wanna sit and work at this piece of equipment all day.
00:01.600: Exactly.
00:01.600: So then and this is done with multi clip.
00:01.600: I'll lay this one down and so and I'll go over it.
00:01.600: Yeah, it might be educational as well.
00:01.600: Um but what they would um so what I would do is I'd I'd had my keywords for the different scenes and uh there was so there was like a transition of someone jumping through a filing cabinet.
00:01.600: Vid, thank you so much for taking the time to chat today, will ya?
00:01.600: So was there any um s so let me ask you how that goes about.
00:01.600: No, how do I defavorate something?
00:01.680: So at that point, now you only have so many shots at any given moment to go through and say, well, I liked this from take one.
00:01.680: In other words, that'll pro or date imported is another thing.
00:01.680: Final Cut 10 solves problems that editors don't even know they have yet.
00:01.760: He's a friend of our friend, Thomas Grove Carter.
00:01.760: I have a I have a favor to ask.
00:01.760: When you explain people I mean when Thomas Grove Carter first joined us at the company we were both at the time, he'd done a few music videos and
00:01.760: It's like, really?
00:01.760: No, not that part.
00:01.760: Did you ever try it?
00:01.760: I'm in good shape.
00:01.840: Just Vid Price?
00:01.840: What if this happens, then this?
00:01.840: So later so hopefully, by the end, by the time you've gotten through all sixty takes, you very well may have your entire time line filled, but the priority is still going to be on take sixty.
00:01.840: So, what are some of the things in Final Cut 10 where you look at it and you go, why did I not have this all along?
00:01.840: Next time you've got some light, try it.
00:01.840: How did you get this job?
00:01.840: It was that quick.
00:01.840: They were pretty cool with it.
00:01.840: Content created, or I was like, what the f that?
00:01.840: Yeah.
00:01.920: So it sounds familiar, right?
00:01.920: And then when you'd kind of reached that certain point, you'd then drop down and assist the other guys and then transition into editing.
00:01.920: Yeah, that's great.
00:01.920: So I used Avid for the, I don't know, probably the first eight for six, seven, eight years of my career, I suppose.
00:01.920: So basically, you just you set a duration or you set an interval, like one frame every three seconds or whatever.
00:01.920: And I got to tell you, I never touch this.
00:01.920: Right.
00:01.920: They have been bugging me, and I apologize to the people at Cormel.
00:01.920: I went back straight away.
00:01.920: One of these buttons is the hang-up.
00:02.000: That's right, yeah.
00:02.000: 03 multicam score.
00:02.000: I will put together like a gallery of people if they want to send me time lapses.
00:02.000: I mean, really?
00:02.080: Yeah.
00:02.080: And make them make them really dynamic and great.
00:02.080: Now it may very well be that from a synchronization standpoint, you're picking the first line of a chorus.
00:02.080: So it's the multi-cam that really makes that work.
00:02.080: You know, somebody recently, and I can't remember who it was, maybe I'll have to find this also for the thing.
00:02.080: I'm sure it's some big important thing.
00:02.080: Looks like a.
00:02.080: I just downloaded something by accident.
00:02.080: Does it not?
00:02.160: I'll put that in the show notes.
00:02.160: So go check that out, PremiumBeat.
00:02.160: Welcome to the little show here.
00:02.160: Okay.
00:02.240: It's quite like as a runner, obviously, I didn't see too much of them to begin with because I was obviously doing teas and coffees and all the bits you do as a runner.
00:02.240: So the solution the solution I came up with, do you want to yeah so okay, so here's what I want to do
00:02.240: And you're actually saying, okay, now that I've sifted through it, I want to look at it, but I want to look at it in a way that's logical too.
00:02.240: Oh, this is wonderful, dude.
00:02.240: I think you can I think if you highlight all the say you've got multiple clips there in this view, if you highlight them all, and then I think if you if you push your right arrow key
00:02.320: So I was thinking, how can I 'cause everyone kept going on about how good Multicam was when Multicam finally came into it.
00:02.320: Yeah.
00:02.320: If you control-click them, then they'll show up in one sort of one window.
00:02.320: You know, something like that.
00:02.320: So they're all all of my different ways of searching for sequences are in that folder.
00:02.320: Okay, so that's a good question.
00:02.320: And actually, a lot of people are going, Oh, I didn't realize I could do stuff like this.
00:02.320: I think we survived we both survived the cull of the weekend.
00:02.320: And it was like, you know, I love and that's what I love with stuff like is you know, people thinking and that's what what excites me with Final Cut 10 is like
00:02.400: It's very difficult to be in a situation well, there's two things actually I think that happen.
00:02.400: Once you see it and you get it, it's like, ah.
00:02.400: Yeah, because what what happens sometimes, if if there's for any reason some kind of problem, basically it's it's uh if you want to match back
00:02.400: That was great.
00:02.400: I can't remember what the name of the there was like a male client that would do it.
00:02.480: I learnt from some amazing people and just took it all in.
00:02.480: Yeah, great, it's fine.
00:02.480: And you know, once you've done that initial setup, it's you know, you can just any which way you want to do it really for whatever you're needing to find.
00:02.480: Yeah, it's not bad.
00:02.480: So there's a bit there's a bit before that where the car's on the other side of the studio.
00:02.480: I think that would be a great feature because every time somebody goes, oh, go back a bit, it's like, you know, dude, I'm not shuttling through tape here.
00:02.560: But so tell me the percentage of your work, how much of what you do is music videos?
00:02.560: Yeah, somebody around there, yeah.
00:02.560: It doesn't mean the way that we do the workaround, as people will call it, is wrong.
00:02.560: So I've still got in my time line the maybe there's one second part of the performance I want
00:02.560: The confidence to be able to look somebody in the eye and say, I've watched every frame and these are the best moments.
00:02.560: I don't need too many, but it'd be nice 'cause quite often I'd you know, I'll I'll do my selects and I'll I'll do them as favorites
00:02.560: Huh?
00:02.560: But a lot of times you get directors in, they're like, oh, Final Cut 10, isn't that shit?
00:02.560: End of show, end of extra show.
00:02.640: Oh, interesting.
00:02.640: And I could flick through and see, oh, there's a great great shot of the guitarist, I'll go to that and then start slipping and sliding things like that.
00:02.640: And I did it once on a somebody had given me an Illustrator document that I had to break into like 200 layers.
00:02.640: But I also have a keyword collection that I just call current.
00:02.640: So if I just click on current, it's going to show me the things that are actually relevant, whereas everything else is like a historical record of everything else that I've done in the past.
00:02.640: If you were in that position.
00:02.720: Yeah, that would be about 05, I believe.
00:02.720: So if you say you start your time line starts at one hour
00:02.720: Right.
00:02.720: Well, it's motion control.
00:02.720: And this is a piece, you may have seen it a couple of months ago, and it looks like a continuous camera shot where there are
00:02.800: Oh, absolutely.
00:02.800: And literally, I would just sit there and learn nonstop, and which sort of happens less and less these days because people don't really have the time to kind of
00:02.800: It was well, it was amazing.
00:02.800: What else do we have here?
00:02.800: It's so much of the work is done there, and then the rest is kind of balancing
00:02.800: Right, exactly.
00:02.800: I don't know.
00:02.800: Very, very cool.
00:02.880: He has an avid background, and a lot of people say that
00:02.880: Yeah, that's right.
00:02.880: And he goes, Yeah.
00:02.880: And it's a shame, you know, if people can kind of drop that and be willing to
00:02.880: Yeah, interesting.
00:02.880: So, in a typical timeline, you're going to have a lot of stuff stacked up
00:02.880: And I kind of he used to do the what a lot of people do is that this kind of checkerboard thing where they will lay
00:02.880: And then within your keyword collection, if you then sort by scene, you then get a really nice all the stuff are separated, a little heading above them
00:02.880: One is I don't know if I'm using the right term, but I'm calling it the filter.
00:02.880: Hopefully, they're relatively quick.
00:02.880: If you want to leave a message, send me a voice message ahead of time, I'll try and roll that into the show.
00:02.880: And we did it really quick together because we were doing these two a week.
00:02.880: When he's on the drums, that's one role.
00:02.880: I remember that.
00:02.960: Um so normally uh normally just take about five minutes or so, um, depending on how many I've done uh recently.
00:02.960: Yeah, yeah, 'cause before that I'd just done I wouldn't I'm terrible at memory of names of things, but used to do some VHS, two machine, jog wheel
00:02.960: That's your habit.
00:02.960: And it took a little bit of work, but kind of came up with something something in the end.
00:02.960: Lay stuff down.
00:02.960: And then there's also, you know, the view of his laptop in the corner.
00:02.960: Yeah, exactly.
00:02.960: By the time we'd finished the shoot, I was on set for it.
00:02.960: And it's just like just that alone has saved so much time.
00:02.960: It was like, oh, no oh, no, I didn't like it at all.
00:02.960: I am not on a normal timeline.
00:03.040: Being a video editor.
00:03.040: There's some great stories that I've heard in the past about people who just basically fell at the feet of the masters and said, I will
00:03.040: There's the little there's the little button that hides the libraries.
00:03.040: com, go to the portfolio, and the icon for it is a guy holding his arms up in front of a window with a microphone.
00:03.040: They've dabbled with it and they're just kind of like I mean, to be honest, because they were direct I was getting the shots coming back as they were directing.
00:03.040: co.
00:03.040: Have you ever heard the concept of inbox zero?
00:03.120: So, we're going to get really deep into some of his philosophy of how he cuts a big budget music video.
00:03.120: I've been following you for a while.
00:03.120: Yeah, yeah, just like just download it on the day it came, you know, it came out and and
00:03.120: So I want to ask you specifically about one particular thing that you cut.
00:03.120: There's there's a bit where he's look uh the camera swings over him in a boardroom
00:03.120: What?
00:03.120: So they knew did they know that you were going to show up on set with a system with Final Kaid 10 on it?
00:03.120: Yeah, definitely.
00:03.120: And it's you don't want to be that guy.
00:03.200: Definitely a place to learn.
00:03.200: I like to feel like I'm picking something up and moving it and shortening it as much as possible.
00:03.200: But so you're saying that if I'm used to say I'm uh cutting in you know Final Cuts Classic or whatever, and I'm used to clicking this, this, this, and this, and that is how it is done.
00:03.200: So they would film him behind that and the camera would go past him, he'd do his bit, he would swing off around the rest of the thing, come back, swing past him, do that.
00:03.200: I mean, I can't imagine how I would have done it in seven.
00:03.280: So you mentioned in film school it gave you access to working with Avid.
00:03.280: So that's the way we used to use it.
00:03.280: I then do it again.
00:03.280: Now, like I say, I can then work on my next batch of clips, pull them out, drop them below.
00:03.280: But it took seconds in Funnel Cut 10 with SliceX, just draw a little map round it, track it, done in seconds.
00:03.280: I'm going to go get a sandwich.
00:03.280: You know, talk.
00:03.360: Yeah, yeah.
00:03.360: And that was a a lot of work because people are putting too many tiny words on one screen.
00:03.360: And sometimes when you play it back, it's like, that is amazing And yet you couldn't it
00:03.360: So I get that.
00:03.360: Remember that whole thing?
00:03.360: So I'm not and and again, if you can add s I used to do on when I did compound clips, you can add scene metadata, right?
00:03.360: I just didn't want it to go rambling on too long because I don't want to.
00:03.360: Yeah.
00:03.360: It was like recording I want I want I want the software
00:03.360: Okay, so let's see if I select this and and defavorite that.
00:03.360: I think that that's something that people I think there's a lot of logic about how to cut music that I'd love to hear more about.
00:03.440: You know, a good friend of mine who's been on the other show that we do, Digital Cinema Cafe, his name is Topher Martini, and his name is Christopher.
00:03.440: Well, thanks for having me.
00:03.440: I'm still learning now.
00:03.440: And then gradually I just got so used to it.
00:03.440: Okay.
00:03.440: Yeah, and as you're going, a lot of the time I have this thing that I try and be instinctive when I'm coming.
00:03.440: I'm going to ask this very publicly, and it very well be maybe something that you cannot share publicly, but then we're just going to tease the world.
00:03.440: It was not finalize.
00:03.440: So, you know, we talked about that, how fun it is when you can, you know, see the work that you're doing, you know.
00:03.440: I could care less.
00:03.520: But yeah, I'd say um music video is probably sixty, seventy percent.
00:03.520: What was that like when you first got to even just be in the room with him and watch him work?
00:03.520: But and that was the big thing that resold me on Final Cutting Year was the fact that I could just pick something up and move it and not
00:03.520: Right.
00:03.520: And by the time I've deleted all the bits I don't want from it, I've got maybe five, six parts in there in the right place that I like.
00:03.520: It's great.
00:03.520: It's called software, launch it.
00:03.520: You really should write it up because more people are going to read Peter's website than listen to this podcast.
00:03.520: Oh, yeah, you can.
00:03.520: Yeah, you pull your little disclosure triangle down, comes up with a green icon and then says favorite.
00:03.520: I don't believe so.
00:03.600: And to a certain degree, I mean, there was this story in the news just recently about um
00:03.600: Right.
00:03.600: Like, I wasn't on the shoot, but I was like, oh, how am I going to cut this thing?
00:03.600: So say it's like the still, there's a bit of him behind his behind his glass thing, his recording booth.
00:03.600: And so you've you've got that kind of hook in.
00:03.600: Have you ever heard me mention one of the features I'd like to see?
00:03.680: And I said, Because my mom wanted to call me Topher as a kid.
00:03.680: And yeah, so then went to film school to do editing.
00:03.680: Can't we collaborate on this little project, Mr.
00:03.680: You know, and it's that um it's that thing I think if you if yeah, your point of reference is something you've learned, and again, this is that thing and that argument on the on the forums is people say it's not in, you know, it's not as intuitive.
00:03.680: And I would agree with you.
00:03.680: So in essence, if I was going to summarize the way you would do a music video where y you you your words, you mentioned sixty takes
00:03.680: Oh, oh, actually, yeah.
00:03.680: Yeah.
00:03.680: Final Cut Editors in Sync.
00:03.680: You know, I was kind of just watching on from the sidelines and what was interesting was seeing actually going through the list of members and thinking like
00:03.760: They're always adding new stuff.
00:03.760: Yeah, yeah, yeah, absolutely.
00:03.760: What's that is that short for something?
00:03.760: And the discussion came up about the kind of lean forward moment that we all have with
00:03.760: Yeah, exactly.
00:03.760: A feature I have never ever used.
00:03.760: And you would think that the logic of that would say, oh, he's touching this one.
00:03.760: It was a collaboration with one of our corporate clients.
00:03.760: Go to iTunes and leave those comments and stars because that's how other people find the show.
00:03.760: I mean that Honda one, it just blew my mind.
00:03.760: Even worse radio.
00:03.840: We get pretty deep into that.
00:03.840: I don't order my angles in any particular way.
00:03.840: Just show me things that are favorites.
00:03.840: They were just like, I cannot believe this is an offline isn't that fun?
00:03.840: Yeah, I need to do it.
00:03.920: I started a I dropped out of my degree when I I got a job as a runner, which is what I'd the reason I'd went to go and do kind of film school and all that.
00:03.920: Now, if I cannot click those exact same things in Final Cut 10,
00:03.920: That is a very interesting comment.
00:03.920: They were something happened on set.
00:03.920: So there'll be five shots of that.
00:03.920: Yep.
00:03.920: Okay, so let me describe it if somebody hasn't.
00:03.920: Yeah.
00:03.920: Yeah.
00:04.000: And maybe I'll have Thomas come and talk about that.
00:04.000: So when you're doing the music video, obviously if you're going through your clip and you're in the middle eight or something like that, you don't want to then have to
00:04.000: And yeah, exactly.
00:04.000: Totally agree.
00:04.000: So I'd then cycle up to my second angle, watching it as one single angle, go through that and start picking out the bits I like, dropping that in, dropping it in, dropping it in.
00:04.000: Right.
00:04.000: You know, it's so much easier to react against the timeline in front of you rather than an empty time line and trying to think like, ugh.
00:04.000: Let's say let's say it's a thing of a car journey and it's there's a part of the video where they're in a car.
00:04.000: Then to the right of that filter pull down is the little find box.
00:04.000: Both angles.
00:04.000: I'm going to mark that as the actual official end of the show.
00:04.080: So I think you're gonna enjoy this.
00:04.080: But it complete coincidence.
00:04.080: So I went to film school and did that way.
00:04.080: And it gives them a little title above those things.
00:04.080: And it like I said, it could be many different parts of that car scene.
00:04.080: You know, it's interesting.
00:04.080: And why can't I have this job?
00:04.080: I can, just like I can in the Finder, I can control-click on multiple keyword collections.
00:04.080: But very cool and great, great to share with all of us.
00:04.080: But apart from those details and
00:04.080: Definitely know that the amount of times that happens, but yeah.
00:04.160: So you weren't you were never really big into old Final Cut, or were you?
00:04.160: So this is this is shuttling this is ganging the canvas with the viewer.
00:04.160: It won't double them up.
00:04.160: There's another thing, another thing that I do.
00:04.160: Hey, so I don't want this to go too long.
00:04.160: So when you pull out at the end, that is him in, I don't know how many of them are different places he's in.
00:04.160: So, like, and this happens to me all the time.
00:04.160: I didn't realize it was the same dude in every shot.
00:04.160: Just even in this discussion that we had today with you talking about the grouping, I had known that I just the the first time that was on, it was you know, I think by default it comes in as content
00:04.160: I think I have 11,000 pieces of mail in my inbox.
00:04.240: com, Music, Sound Effects, and a great blog.
00:04.240: It's kind of interesting, though, right?
00:04.240: But sometimes, like I say, I'll lay it over, and if it leaves two frames of the shot below it
00:04.240: And the quicker the back end of my edit becomes from the amount of work I do at the front.
00:04.240: Yeah, yeah, absolutely.
00:04.320: And it's a great shame, I think, because you just you know, it's what an apprenticeship, really.
00:04.320: Yeah.
00:04.320: I totally get it.
00:04.320: Funny about Topher and Christopher.
00:04.320: And the great thing for me is not many people using Funnel Cut 10 for music videos apart from myself, Tom Grove Carr, and
00:04.320: So um uh I think and but that's 'cause that's a great thing, like with what Tom
00:04.400: Yeah, that's always convenient.
00:04.400: Yeah, there was a system called a Fast.
00:04.400: It will jump up.
00:04.400: Yep, of course.
00:04.400: And I saw it linked on somebody's site who was talking about the camera rig.
00:04.400: When he's at the car, that's another role.
00:04.400: I'll have to do a write-up and sort of show you how it was done because it was j you know, we'd done it.
00:04.400: You're more than welcome to watch your timeline.
00:04.400: Let me just scrolling back here.
00:04.400: Okay, here we go, Chris.
00:04.400: Yeah, it is insane.
00:04.400: There we go.
00:04.480: A lot of the stuff I do is can be quite quickly cut and be quite you know, quite full on and flashy, but
00:04.480: I I got in trouble because I had to miss the first two days of my holiday.
00:04.480: Do you solve that now by using the multicam?
00:04.480: So anyway, yeah, that application is called Screenshot Time Lapse.
00:04.480: The only thing I'm worried about is it's going to show how little time I spend actually doing it.
00:04.480: No, no, no, I know, I know, I know what you mean on that phone.
00:04.560: Hey, uh my name is Chris Fenwick.
00:04.560: Um and the rest is then sort of commercial and
00:04.560: So I started as a runner.
00:04.560: I've done very few music videos.
00:04.560: I don't know who Labyrinth is, and I did not even realize it was the same dude in all these scenes.
00:04.560: I'll send you like a picture of the timeline and stuff as well, because it was an interesting one.
00:04.560: Did you see?
00:04.560: Um let me think where is I can't find this.
00:04.640: You think, well, you're sure you know what Christian Bale's like and what he's going to do, eh?
00:04.640: So yeah, it's such an important thing.
00:04.640: I mean, if if we'd all learned Funnel Cut 10 first and then had to do the avid way of doing something, you'd say that's a workaround.
00:04.640: Option Command Up Arrow to lift out a storyline.
00:04.640: And so we had, it was just 20 angles, 10 passes with two cameras.
00:04.640: And then I would dig through the different angles.
00:04.640: I probably should, yeah.
00:04.640: That's bullshit.
00:04.640: Mildly irritated.
00:04.640: They were dealing with a long-form documentary, and their editor, who they were encouraging to use Final Cut 10, was like they were an avid editor.
00:04.720: Right, yeah, yeah.
00:04.720: And I've said in the past with that, it's like, well, you know, that doesn't necessarily make it intuitive, it just means that it's learnt.
00:04.720: I kind of think, well, the one I'm dragging out is the one I want to go on top, right?
00:04.720: Yeah, yeah.
00:04.720: Yeah, I know you say you learn something off everyone, you know.
00:04.720: Okay, brilliant solution.
00:04.720: And um and in the course of doing something like that, it's it's almost entirely stock footage.
00:04.720: And there's and one of the things that I do all the time is I will make a keyword collection called
00:04.720: Okay.
00:04.800: And great music.
00:04.800: Right.
00:04.800: So it then just becomes normal connected clips.
00:04.800: So, you're talking about doing something else.
00:04.800: If for any, you know, they want to use someone else on a music video
00:04.800: Hit F again.
00:04.880: I can't remember who it was, but they used to have a great line.
00:04.880: Um and Edge was saying, you know, that there was a real
00:04.880: This is the tool I've always been waiting for.
00:04.880: And if you've got quite a few of those together all of a sudden, you come up with some interesting stuff.
00:04.880: And I was just about to redo it and I suddenly thought, oh, I think it's it's either command or control click the two keyword collections.
00:04.880: That's the assembly rooms dot T V.
00:04.880: I'm lazy.
00:04.880: All right, take care.
00:04.960: First name, this is the whole podcast about people and their strange first names.
00:04.960: When Multicam did come, everyone say how great it was, and it is, but it's still like I thought, oh, they've got to be gang single be in there, and it wasn't.
00:04.960: Not all of us get to sit around with a mentor like Nicholas, like you had.
00:04.960: That's the new thing, isn't it?
00:04.960: Yeah, exactly.
00:04.960: Yeah, no, thanks for chatting, man.
00:04.960: Yeah, I just I wanted to ask you about that piece because
00:04.960: And I kind of thought, oh, well, kind of the point with Final Cut X is that
00:05.040: And so that was a real bold statement to be so understated, if you will.
00:05.040: You know, it's knowing when not to cut.
00:05.040: And now I'm taking all my broadcast, you know, the timing of cutting a live show and bringing it to a timeline.
00:05.040: I do keywords.
00:05.040: But yeah, so that's I had not realized that you could
00:05.040: And in fact, it was an interesting one.
00:05.040: At any rate, um
00:05.040: Look at you.
00:05.120: That's a really, really good question.
00:05.120: I think that the the clip that you are touching should always take
00:05.120: And yet this technique of going through your clips individually and putting them down you know, even if you pick out a little
00:05.120: Once you've got the you've got the raw energy that you need in that very first pass
00:05.120: I've just been busy and there's a bunch of you I want to contact and
00:05.120: Um, and uh so it's motion control.
00:05.120: Yeah.
00:05.120: Whereas now, obviously Fellow Cut 10, you've got your thumbnail view and you go through.
00:05.120: How do I do that?
00:05.120: I was like, yeah, that makes really a lot of sense because each subclip has a name, and it's not a bunch of disclosure triangles, and it's not.
00:05.200: And like you, I I you know, I use keyboard all the time for various other things and
00:05.200: Yeah, that was awesome.
00:05.280: And frankly, I saw a screen grab, you probably have seen it.
00:05.280: So your clip you're extending will go underneath it.
00:05.280: And it's an idea of turning off a a filter in your brain, really, that sort of stops you from doing things that you know are wrong.
00:05.280: It's like a couple of bucks.
00:05.280: Now, one thing I
00:05.280: If you could sneak in the back door at Apple and get the guys to make the Vid price feature, what would that be?
00:05.280: None.
00:05.280: And the thing I like about doing that is that
00:05.280: We should probably cut this short.
00:05.360: And if you haven't seen the thing that he that Thomas recently
00:05.360: I really don't, you know, need your help.
00:05.360: I just found it so much faster on the time line than I was on Avid.
00:05.360: I still thought this is where it's going to go.
00:05.360: That's sort of the classic sort of Final Cut 10 problem.
00:05.360: Whereas if you've got sixty angles
00:05.360: So I'll just highlight those five shots, go into the inspector, under scene, I'll just put getting into car.
00:05.360: It really divides them out really neatly.
00:05.360: It is always on none for me.
00:05.360: First one is on Multicam is the ability to
00:05.360: I know I can.
00:05.360: Because I just yesterday I was wrapping up something else, and I apologize, but you're going to have to kind of get me up to speed.
00:05.440: So I got to say, I learned a lot of stuff.
00:05.440: I don't know how they keep up with all that stuff.
00:05.440: I mean, it's kind of, you know, that's kind of an interesting little somebody had to sit down.
00:05.440: So there is a document that probably is, this is the logic of how the
00:05.440: They'll be in the same one.
00:05.440: Very good.
00:05.440: I ki I and I agree.
00:05.440: So that yeah, that was great for me.
00:05.440: What am I?
00:05.520: Yeah.
00:05.520: And then what you could do then, which I would love to be able to do now on a on projects, is to be able to
00:05.520: Well, I've got my own website, which is at vidprice.
00:05.600: When I say no much there's not many kind of physical cuts.
00:05.600: And it's, you know, that's the thing.
00:05.600: And there's three little pop-up windows in the above the viewer.
00:05.600: Right.
00:05.600: So I'm going to call this the filter.
00:05.600: Oh, right.
00:05.600: What was that like when they first looked over your shoulder and they're like, what the hell?
00:05.600: I mean, on occasion, I mean, I don't necessarily have w we don't
00:05.600: You know, and because, like, what you could do is you could do favorites.
00:05.680: Yeah, it's uh it's actually short for David, um, but it's the other end of it.
00:05.680: I've never heard anybody say.
00:05.680: Okay, now I'm, you know, but I think
00:05.680: Yeah, mildly irritated.
00:05.760: You've heard me talk about that.
00:05.760: So it's completely slipped my mind what I was going to say now.
00:05.760: And then the multi clip part would come in once you've kind of chosen all the great parts, so you're maybe sixty run throughs of a song.
00:05.760: Or another really powerful one now is filter by unused.
00:05.760: So, but it appears to be a single shot.
00:05.760: All the different places are all different roles.
00:05.760: No, that was me getting mad at the mayor of Fort Lauderdale for making it illegal to share your food with homeless people.
00:05.760: And people should all write the mare of
00:05.760: Yeah.
00:05.840: It just some my brother called me up when I was a kid, when I was about three.
00:05.840: Edit Box?
00:05.840: Obviously, you've had on your show a few times I used to work with Thomas Grove Carter and
00:05.840: I'll try and make decisions.
00:05.840: And you kind of skip past things.
00:05.840: You can see, oh, yep, he's on Facebook.
00:05.840: By the time we'd finished the shoot, I'd got 85% of it cut.
00:05.840: You know, it would have been the way it would have been in Final Cut Seven would have been just
00:05.840: I need to get on it.
00:05.840: And sometimes that prep work actually helps you get past that thing.
00:05.840: Okay, so here's the concept.
00:05.920: I know guys who
00:05.920: I don't have those dates down either.
00:05.920: Yeah.
00:05.920: Like, for example, I just finished a large screen piece, which I think played this morning in Denver.
00:05.920: It's like auditions.
00:05.920: Camera would do the whole move again, the whole three and a half minute track, all the way around, just for those specific parts.
00:05.920: I think it's a brilliant concept.
00:05.920: We'll do it again sometime.
00:06.000: I was like, well, people aren't going to vote for that.
00:06.000: Yeah, it's a great piece.
00:06.000: And the key to it is the multicam because, like I say, you make those decisions
00:06.000: I didn't get my dailies for this morning or whatever.
00:06.000: Well, you know, I do, and I do now know that there's a difference between
00:06.000: But it won't you can't then match back again to the clip.
00:06.000: I hadn't I I would have done it immediately, but I think I mean, he's already been on two or three times.
00:06.000: U, I think it is to unrate.
00:06.080: I did a lot of live
00:06.080: Now I'm not doing, I'm not watching everything of every angle like you did.
00:06.080: I'll have them all mixed up because
00:06.080: Exactly.
00:06.080: You have a browser full of Eclipse and you're going like, you're like, I think it's up here.
00:06.080: And I'm like,
00:06.080: Cool, one.
00:06.160: And it was the Labyrinth Let It Be piece.
00:06.160: So if you're that kind of a guy, you should drive a Honda.
00:06.160: Oh, that blew me away.
00:06.160: Yeah, exactly.
00:06.160: And I just want to see the things that are favorited.
00:06.160: You're right.
00:06.240: But anyway, Thomas and Vid know each other, and Vid
00:06.240: You know, you had to go into a mode.
00:06.240: I did one for a band in LA called Seven Lions.
00:06.240: That's the thing I love about it.
00:06.240: So let me ask you this about that.
00:06.240: So for example, if you've done a you're doing a music video, say you kind of you're saving your cuts, you go, you've got some different versions.
00:06.240: Yeah, no, I mean, literally, if I can if I can get my mail box down to two hundred
00:06.320: Plenty of fun.
00:06.320: Yeah, definitely, definitely.
00:06.320: Because those I could look at in a nine up
00:06.320: So they're all nice and neatly put together
00:06.320: So did you I I'm assuming you got the job because you know you're vid price, not because, oh, you're that guy that uses Final Cut 10.
00:06.320: Well, and watching what's been really interesting is reading all the the forums
00:06.320: This is bad television.
00:06.320: You need to go into once you've made your favorite, you go into list view.
00:06.400: I hope you know that by now.
00:06.400: So he called me Vid in retaliation.
00:06.400: But it's, but
00:06.400: I'd go, Oh, this is really cool.
00:06.400: I actually quite like them random.
00:06.400: That's when you're looking for more specifics.
00:06.400: If you're in your car, first of all.
00:06.400: All the effects were done again afterwards.
00:06.400: Oh, yeah, that's right.
00:06.480: I want to thank the people at Premium Beat.
00:06.480: And I hadn't realized, I hadn't placed the name in the icon with some of these videos that I've been seeing.
00:06.480: That's the way it kind of felt to me at the time.
00:06.480: And then you can move back to the start.
00:06.480: So I've still got multi scam.
00:06.480: It would seem to make sense, right?
00:06.480: So I want to thank everybody for participating and listening in.
00:06.480: Thomas Grove Carr has been battering me for ages to do a write-up on it because it's
00:06.480: It's always frustrating when I get assigned to an edit suite with a producer coming in.
00:06.480: This is a little bit out of your wheelhouse, but maybe you'll have some input on this.
00:06.560: And I thought I could cut until until I started working with Nicholas and then he kind of showed me how to really cut, you know.
00:06.560: There's no way I could afford
00:06.560: And so I'm guessing that was probably around oh again, I'm rubbish with times and dates, but I'm guessing it was around funnel cut.
00:06.560: You don't want to feel like you're fighting, do you?
00:06.560: And in there was one particular thing that was missing
00:06.560: It's actually an I think I think it might have been
00:06.560: Whereas if the two are sunk together, when you move one, you move the other, then
00:06.560: And you used to be able to do it in Final Cut 7.
00:06.560: So maybe I should just do that.
00:06.560: Anyway, fascinating.
00:06.560: Yeah, I've tried it.
00:06.560: Yeah, no, I agree with that, but I think that the problem is that if you have multiple
00:06.640: I really appreciate you seeking me out.
00:06.640: Since this is not really the actual show here.
00:06.720: And the middle one, it says sync off
00:06.720: I'll have to give it another look.
00:06.720: Bye.
00:06.800: And what you're saying is saying, well, yeah, sure, you could call it a workaround.
00:06.800: There was like a camera over his shoulder, primarily, I think it was.
00:06.800: I always have a folder in every one of my events.
00:06.800: So you can find me on Onilo's.
00:06.800: Yeah, yeah, yeah.
00:06.800: But it's great.
00:06.880: There's the record button.
00:06.880: So that's premiumbeat.
00:06.880: You know, it's that moment where you go, Oh my God, I'd love this, you know?
00:06.880: There's a great documentary about the recording of the YouTube album, The Joshua Tree.
00:06.880: So I just I just did a lot of live television up until about two thousand
00:06.880: The thing the thing I find my by the time I've done my first pass, I quite often find seventy percent of the decisions I've made in the cuts
00:06.880: So, I was talking about being in list mode.
00:06.880: So now you're not actually looking at it in list view, which as a you know, somebody who's cutting pictures is kind of a drag.
00:06.880: Very good point.
00:06.880: Yes, same name.
00:06.880: So it's then you can then you can kind of comp him in seamlessly basically.
00:06.880: And I need to try and swap it out and I've got, I know
00:06.880: So that was posted the glass itself was posted in afterwards.
00:06.880: Final Cut Ten really kind of, you know
00:06.880: I mean, it's it's difficult, isn't it, right?
00:06.960: Would you say that most of your stuff is, um I'll call it broadcast or very high profile?
00:06.960: There's the little pull down gear.
00:06.960: Okay, that was number one.
00:06.960: Yeah, you know, you're either lazy or you're a busy editor.
00:06.960: co and then the
00:06.960: There you go.
00:06.960: I actually found it I thought that sounds like a great idea
00:07.040: So I kind of get it.
00:07.040: Whereas if you mix it up, it keeps it a bit more interesting, keeps your eyes a bit more
00:07.040: So you can narrow it down that way as well.
00:07.040: I wonder if there's a
00:07.040: And a lot of times we use like.
00:07.040: And this where he jumps through and comes out the other side in the forest, that was in a different keyword collection.
00:07.040: So thanks again.
00:07.040: This is the thing: is like
00:07.120: They'd say, Yeah, turn on your TV.
00:07.120: It was the subtlety.
00:07.120: Um, a lot of um I did for many years.
00:07.120: So, yeah, there's a lot of ways.
00:07.120: And I want to look at all of those, I can just non-contiguously select A1 and B1.
00:07.120: There's so many ways of
00:07.120: So I'm nowhere near inbox zero.
00:07.120: Yes.
00:07.200: And I think that is something I'm always looking for when I'm watching your videos.
00:07.200: Interesting.
00:07.200: I'm sorry.
00:07.200: And when you click gang, it now says, right, those two will move at the same place wherever you move
00:07.200: You can't watch it with like eight other things going and you know, make a good decision.
00:07.200: So what's your alternative way of doing it?
00:07.200: Like, I have no idea what I just scrubbed across, but.
00:07.200: All right, well, this is a this is hardly a solution and hardly a tutorial
00:07.280: They've really built an ecosystem, a community of people.
00:07.280: The clip that you're
00:07.280: I'm launching Final Cut 10 right now.
00:07.280: I uh I not directly know.
00:07.280: Ron was going to boot some losers out there
00:07.280: And this thing, you know, like we're talking earlier about assisting
00:07.360: Can something be very unique?
00:07.360: Plenty of fun.
00:07.360: It's the it was the gang sync mode.
00:07.360: But he I think that he cut his whole piece that way.
00:07.360: And so, what's interesting, where it gets more interesting, is so if you drop your clips, if you're working below the primary storyline,
00:07.360: Right.
00:07.360: And it's
00:07.360: I'll put the date at the beginning of the keyword collection.
00:07.360: And whatever the most recent version of the project
00:07.440: But, or unless you did, did you?
00:07.440: So maybe we're just all
00:07.440: Is I would I purposely front-loaded the first like
00:07.440: And
00:07.440: You're like, I need a better sunset.
00:07.440: So let's say if I know that my interview
00:07.440: It was not break apart.
00:07.440: They've sent me a hundred emails.
00:07.440: On Facebook.
00:07.440: Cool, man.
00:07.520: And then in the end, there
00:07.520: And they said, well, you know, there's more
00:07.520: I've I've had this discussion with uh s some other friends.
00:07.520: But hence
00:07.520: It's a different way of doing it.
00:07.520: I then
00:07.520: I will look at something and be like, oh, I had a great take there
00:07.520: But I mean, I've seen people like that, and it's frightening because I can remember I was younger, and I was like
00:07.520: I mean, that's just
00:07.520: So, a short summary of, you know, Bob talks about crashing the car.
00:07.600: Like I say, when I started, I thought I could cut until someone who's amazing showed me, you know
00:07.600: Yeah, definitely.
00:07.600: Absolutely.
00:07.600: So what you're saying is first you go to the keyword collection of car and then you in the column
00:07.600: And then my third one is kind of LinkedIn, and it's a
00:07.600: So all my projects are there.
00:07.600: Multiple tracks.
00:07.600: Good God, I get a lot of junk email.
00:07.600: So like a single clip could have three or four things favorited in it.
00:07.680: One, it's very difficult to have enough time
00:07.680: Yeah, which ironically wasn't.
00:07.680: Uh no.
00:07.680: Yeah, I think it's Command Option Up Arrow.
00:07.680: And if you know, when you can split it up like that, it's and you can you can then search
00:07.680: Exactly.
00:07.680: However
00:07.680: That's it.
00:07.680: I want to find those clips, I want to find those things because that's how I understand my rushes.
00:07.680: He sent me these highlighted bits where I could see
00:07.760: Really?
00:07.760: Exactly, exactly.
00:07.760: I can remember the first time I had a green screen on my primary storyline.
00:07.760: Okay, now let's go through the next angle.
00:07.760: So, so now again, we're talking about in the in the browser.
00:07.760: Once I sort by unused, that one clip is going to turn into two clips.
00:07.760: Oh, so cut it couldn't have done it, it would have been a nightmare.
00:07.760: Yeah.
00:07.840: But now, obviously it's it's so cheap.
00:07.840: I always remember thinking at the time that
00:07.840: I'm typing I'm pasting your URL into something here.
00:07.840: But there's a certain part of me that likes to kind of
00:07.840: So the they built the set
00:07.840: Oh, really?
00:07.840: Huh, I don't know what that means.
00:07.920: Today I'm talking with a guy named Vid Price.
00:07.920: You want to kind of.
00:07.920: And I think that
00:07.920: So, you don't want to see the keyword parts, you just want to see the favorites.
00:08.000: Yeah, probably around that sort of time, maybe just after.
00:08.000: Well you were talking and I just want to clarify because what you're
00:08.000: You know, that's an interesting
00:08.000: So I might go I might have say
00:08.000: Yeah, yeah, yeah.
00:08.000: You click favorite.
00:08.000: That gets us part part way there.
00:08.000: Take care.
00:08.080: Here's an interesting thing.
00:08.080: It was one of those ones like, ah, I can't turn this down, I've got to do it.
00:08.080: But it was of course, it was that thing of unfamiliarity.
00:08.080: So like, let's just learn this
00:08.080: What was the um
00:08.080: And we did, it was my first experience with the multicam.
00:08.080: So to speak.
00:08.080: I'm a great
00:08.080: Because and this is the thing I thought I thought was kind of interesting with when you interviewed Austin Flack.
00:08.080: Exactly right.
00:08.160: So today we're talking about music videos with
00:08.160: Yeah, yeah, there's that definite feeling.
00:08.160: You know, it had you know, and then the thing is, once you get that first one done, you're kind of you're off and running and, you know
00:08.160: Because I always found Avid and I changed it a little while back today, but
00:08.160: And Scott gives me a hard time about this all the time.
00:08.160: Next time I've got a I've got one, especially with performance, because he's one of those
00:08.160: I'll put it in the show notes, but it's a
00:08.160: And then in that end comp
00:08.160: But my offline looks basically identical to the online apart from
00:08.160: So they were just made up
00:08.160: And by the time, you know, within like an hour or so and showing them, they're like
00:08.160: This is making me so angry.
00:08.240: Same kind of thing, the inversion, the other end of the name.
00:08.240: Right.
00:08.240: And it's one of the big hits, big singles off of Joshua Tree.
00:08.240: I could just put it down where the audio belongs, if you will.
00:08.240: com.
00:08.240: Because one big long continuous camera move.
00:08.240: All the rest of the cables and wires were kind of left in because that's part of the aesthetic.
00:08.320: com.
00:08.320: Well,
00:08.320: And the only thing people I've seen
00:08.320: Thanks again.
00:08.400: It's just stuck ever since.
00:08.400: I think, oh, right, I've got three shots of the
00:08.400: For multicam, it was amazing.
00:08.400: And you know what?
00:08.400: That's number one.
00:08.400: Assembly Rooms plural.
00:08.400: Because like, I mean, I I sometimes have to force myself to post because I think like
00:08.400: I'm lucky to keep mine at inbox two hundred.
00:08.400: So, how would you organize that stuff?
00:08.480: It was the beauty of it.
00:08.480: Notice I didn't call it a workaround.
00:08.480: But yeah, essentially that that's kind of correct.
00:08.480: How can you I can't decipher that.
00:08.480: And then I would drop something in, but I'm definitely missing out on
00:08.480: And let's face it, you know, we've all met the
00:08.480: And the glass was not actually there?
00:08.480: You're using that iMovie thing?
00:08.480: So then I obviously would have known, oh, yeah, there's a lot of editing in that.
00:08.480: There's going to be.
00:08.480: It was a listener who was dealing with, and I can't, I'm so sorry, I can't remember who you are.
00:08.480: Take care.
00:08.560: I feel like I've got a good grounding in both.
00:08.560: So I'm always going back to the original part of the multi-clip, swapping the angle, dragging it back out.
00:08.560: I'm going to try and do a live
00:08.560: We'll be back on Friday with another episode of The Grill.
00:08.640: You would think, yeah, yeah.
00:08.640: There was a lot of interpretation involved in that.
00:08.640: And then
00:08.640: It's more important.
00:08.640: I don't know why number one hundred is a big deal, but I think it's
00:08.720: Hey, so where did this button here?
00:08.720: We had them on Friday's show and we spent the afternoon with Danny.
00:08.720: Because I want to I you know, I don't disabled
00:08.720: I think it makes perfect sense.
00:08.720: It's like
00:08.720: That is one thing I really hope comes over because it is a nightmare without it.
00:08.720: I would then like to have a way of being able to say, actually, this stuff is the best of the selects.
00:08.800: Unique means one of a kind.
00:08.800: No.
00:08.800: Yeah.
00:08.800: That's a work around the piece is a workaround to how I do it.
00:08.800: Explain to me the old way of ganging
00:08.800: And the thing I love about doing this way of going through it, I mean, is that
00:08.800: I liked this from take 13.
00:08.800: Exactly.
00:08.800: I have a smart collection called synced clips.
00:08.800: It might make quite an interesting case study for people who are interested.
00:08.880: I'm on Twitter at vidprice.
00:08.880: So by the time they came in
00:08.880: Bye-bye.
00:08.960: That's kind of I totally get that because that's definitely
00:08.960: Ah, yes.
00:08.960: Oh, the se not the car where he's sitting in it.
00:08.960: So it's sort of like a skimmer time machine.
00:08.960: Yes, I can rename that.
00:08.960: That would be kind of handy.
00:09.040: And I could specialize in editing on the course.
00:09.040: Your time line is at the precise point
00:09.040: And you just fire this thing off at the beginning of the day and just let it rip.
00:09.040: The difference between shift selecting the top of the list and the bottom of the list, you'll get everything.
00:09.120: What was that like the first time you got to do that?
00:09.120: This is really interesting, Vid.
00:09.120: Definitely go check out his his website.
00:09.120: Can I do that?
00:09.200: Yeah.
00:09.280: One is the scale of the viewer.
00:09.360: At this point, let's go to the interview with Vid Price in London.
00:09.360: And you're saying that you go into that and you say
00:09.360: I need a better shot of somebody running on the beach.
00:09.360: No big deal.
00:09.360: So I find that to be a really, really quick way of
00:09.440: But I think that I also think that there is a
00:09.440: So without belaboring the
00:09.440: And I don't know if you've noticed actually this really interesting little way Finder Cut 10 works.
00:09.440: So honestly, this changed everything for me.
00:09.440: Basically, I want to be able to finalize a multicam, right?
00:09.440: So
00:09.520: We were having this discussion in our office the other day about
00:09.520: And
00:09.600: You know, I remember doing
00:09.600: And that's by using the group command.
00:09.600: Second one is having more levels of
00:09.600: Ah, it's that one with among you know
00:09.600: You know, sometimes
00:09.600: Yep.
00:09.600: So if you
00:09.680: So that's a non-contiguous selection.
00:09.680: Now the some of the things that
00:09.760: But
00:09.760: And I was like, oh, this might be interesting.
00:09.760: And it all comes down to how much you I suppose how much
00:09.760: And if people want to
00:09.760: I want to see just all the favorites.
00:09.840: Yeah.
00:09.840: Okay, uh let's see.
00:09.840: Uh
00:09.840: Yeah.
00:09.920: It was really, really good.
00:09.920: I'd love to have you back on sometime and talk more about.
00:10.000: And then when you group by scene.
00:10.000: It's a big deal when the show shows up in those like
00:10.080: In fact, no
00:10.080: So it's like 141105.
00:10.080: Because if you if you wrote an article and had, you know, five or six screenshots, I gave
00:10.080: Well, maybe.
00:10.160: So it's you know it's
00:10.160: How many cuts are in that thing?
00:10.160: Hey, are you going to look at this or not?
00:10.160: So that kind of I can see what the stuff is.
00:10.240: That are unique to Final Cut 10.
00:10.240: And I would like to have that changed.
00:10.240: So I'll keyword all the stuff that's the car.
00:10.240: It will take you to the front of the clip and not the point you need.
00:10.240: Anyway, so the constant
00:10.240: Okay, so but the problem is now
00:10.320: Okay, that's that takes us up to
00:10.320: Yeah, there's so much flexibility.
00:10.400: I think, especially now with the democratization of the equipment, I mean,
00:10.400: He goes.
00:10.400: Yeah, exactly.
00:10.400: 29 was spectacular at the same moment.
00:10.400: But yeah, but a lot of time I try and make those decisions as I go 'cause ninety percent of the time
00:10.400: What are those things that
00:10.400: So
00:10.400: Yeah, yeah.
00:10.480: So, um
00:10.480: So
00:10.480: So Avid and on Final Cut 7 as well.
00:10.480: You're actually touching on something that we've never discussed.
00:10.560: And my offline
00:10.720: People come up and
00:10.720: I took people's crappy PowerPoint presentations and made them
00:10.720: And of course, you're going to know and feel the thing you've done twenty years on.
00:10.720: No, because the glass would have been so expensive to fill
00:10.720: I really gotta, you know, I really gotta
00:10.720: And I was like, oh, that was it.
00:10.800: Now, Vid
00:10.800: And again, group by
00:10.800: It's already marked in and out and drops in.
00:10.880: And there's only about six edits in the whole video.
00:10.880: And then in the list view, I do the transcription.
00:10.960: There's my friend uh Kevin Monaghan, who works at Adobe and
00:10.960: Only show me the bits that are unused.
00:11.040: And there were times where he had to drop in some lower thirds, and he goes,
00:11.040: I have one called compound clips.
00:11.040: You just want to see, and you know, this was really good.
00:11.040: That is a worthwhile piece of info.
00:11.120: And then from there, the tools that I had actually
00:11.120: So I showed him this method.
00:11.200: That's what I do.
00:11.200: I know there's a contradiction there.
00:11.200: He's got a great little portfolio there with a bunch of his work and
00:11.200: And I'm trying to find
00:11.280: Yeah, yeah.
00:11.280: We shot this thing the day before.
00:11.280: And the other thing I do as well
00:11.280: I know you've been with this footage for two weeks now.
00:11.280: Yeah.
00:11.280: Yeah, sure, wouldn't that be pleasure?
00:11.440: You know, you've learnt how to do that.
00:11.440: And then
00:11.440: I was like,
00:11.520: I can't remember.
00:11.520: And then in Final Cut seven, there is a
00:11.520: Maybe.
00:11.600: Okay.
00:11.600: And so I could put
00:11.680: So
00:11.680: Yeah, yeah.
00:11.680: You know
00:11.680: So it was an interesting thing for me, but
00:11.680: I'll then blade it a little way in.
00:11.680: There's the bit before the part I used.
00:11.680: And then it's a case of kind of comping.
00:11.680: It's not Eric, it's not
00:11.760: I need a.
00:11.760: Right.
00:11.760: Yeah.
00:11.840: And I got to say,
00:11.840: Thank you.
00:11.840: And the other thing I found was
00:11.840: No.
00:11.840: I don't know.
00:11.920: They're going to work on this thing for the next year.
00:12.000: I should probably look it up.
00:12.000: So
00:12.000: Should probably go back to the stuff.
00:12.160: My name is Christopher also.
00:12.160: It was such a kind of big break at the time.
00:12.160: Go back a little.
00:12.160: And now
00:12.240: It's like
00:12.240: Yes, same dude, same dude.
00:12.240: Maybe you are lazy.
00:12.240: There's flexibility, there's the flexibility that allowed him.
00:12.240: Okay, so.
00:12.320: And then you've got a keyword collection of all those things.
00:12.400: To get rid of all that extra media that's.
00:12.400: With the uh
00:12.400: So, yeah, I probably should.
00:12.640: The assembly rooms dot T V, yeah.
00:12.640: Later, later.
00:12.720: Absolute pleasure.
00:12.880: Sure, sure.
00:12.880: Right.
00:12.960: But what was the first
00:12.960: Yep.
00:13.040: Yeah.
00:13.120: And it was
00:13.120: Really?
00:13.200: I mean, I think
00:13.280: Now this is a very interesting
00:13.440: How did that come about?
00:13.440: Go back a little.
00:13.600: I mean, he sent me.
00:13.760: If you've got
00:13.840: And
00:13.840: And it's well.
00:14.000: You might have
00:14.160: Okay.