Episode 98
FCG098 - The Last 2% (feat. Paul Koblik)
Running a multi seat facility running FCPX is a completely different problem than just cutting a timeline in it. Paul Koblik of SL\CE Editorial talks about the pros and cons of working with Final Cut Pro X and the issues of hiring editors as well as his biggest pet peeve… the LAST 2%.
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Featuring
- Chris Fenwick
- Paul Koblik - @sliceeditorial
Transcription
00:00.001: I'm doing the intro out of order, weird.
00:00.001: So you'll duplicate the library and have another copy hyper.
00:00.080: on it.
00:00.160: Video editor, it will also just show you every file that you've looked at.
00:00.160: Seem like it's better.
00:00.160: I mean, there's always been times where it's like, oh, this guy doesn't know this thing.
00:00.160: At your place.
00:00.160: You know, but that's wild to think that we're looking at these big images, and that's not a that's not the biggest screen by far, but
00:00.160: Once a month or twice a month, and those are the only times they're going to use Final Cut 10, then you know it's kind of like you're starting over every time they walk in the door, and after a while.
00:00.160: Years.
00:00.160: Here, you know, that's what you know.
00:00.160: You know, we have nine timelines we need to plow through.
00:00.160: But it's this weird like you're not opening it, you're peering into it.
00:00.160: And I look at the final product, and I'm like, yeah, the color could be fixed there.
00:00.160: I open a project that somebody's worked on for four or five days and I've not sat in front of.
00:00.160: You know, those that's a that's a long project for us.
00:00.160: Yeah, but to get okay, so let's be fair, you know, I've had this discussion with my friend Scott Simmons on uh hi a couple of episodes where he was saying that like the most important thing as an editor, if you really want to do a good job, you got to lay your eyes on every frame that you've been given.
00:00.160: This isn't the footage you brought me.
00:00.160: and the access that people have to those stories is only going to get better.
00:00.160: I go, really?
00:00.160: I mean, who would have thought I'd be sitting at a 27-inch iMac with a 5K display, all these crazy pixels?
00:00.160: Uh, wrap-up number two.
00:00.240: Game.
00:00.240: You know, I take the path of least resistance because you got to, you know, things have to go out the door.
00:00.240: It doesn't do what we need it to do.
00:00.240: First of all, can it even do the jobs we need to do?
00:00.240: And that was painful.
00:00.240: You know, it's got to be some kind of hook that brings you in, that makes you want to use a tool.
00:00.240: And then you explore the features that it, the other features that it has.
00:00.240: you know, at six o'clock, at seven o'clock, it's nine o'clock.
00:00.240: Is something that every editor experiences when they sit down with Final Cut 10.
00:00.240: And I use a lot of independent contract labor.
00:00.240: So there's something wrong here.
00:00.240: the project was corrupt or and we have to go back in and and none of the I think all the fear world yeah that was a that happened a couple of times with the stratosphere
00:00.240: There were a couple of projects that just died in Premiere, and it took days to resurrect them.
00:00.240: I don't know, somewhere around 2000, something like that, at the old company and then here.
00:00.240: And if the musician comes in and there's feedback and they can't keep their instrument in tune or they're not quite familiar with their instrument, it's going to affect
00:00.240: The creativity that is the jam, and the jam won't be as good, and it certainly won't be as pleasurable for the participants who are jamming together.
00:00.240: Yeah, that's not good.
00:00.240: Adopting new technology or using an edit system that isn't stable, that has a lot of issues.
00:00.240: and troubleshooting the system.
00:00.240: You know, they are going to gravitate to the system that they run into the most.
00:00.240: At some point you want to look at a guy and you have to say, hey, you need to learn this, but I see what you're saying.
00:00.240: And then finally, you know, make its debut with a client because for a while it was like you didn't want to show anybody Final Cut because she was ugly.
00:00.240: Yeah, you know, and certainly they were, you know, they were probably one of the first clients to come in.
00:00.240: Photoshop, Keynote, whatever it is, you know, those add the complexity of importing and exporting and getting things in and out of Final Cut.
00:00.240: the a shot of the fifty nine hundred wide pixel sh showing one to one on the new 5K iMac, which is pretty crazy because I don't there's something about I've I there's an article I need to read.
00:00.240: There's something about the way Final Cut or excuse me, the iMac generates the image and then scales it down or something.
00:00.240: To get the project done, if it makes them comfortable for that time, does it make me happy?
00:00.240: If it has a tight timeline, there's not a client there, or I can supervise, but and let them go and let them be angry in a room by themselves.
00:00.240: you know, there's the return there on your investment of teaching them kind of falls away.
00:00.240: And they may get a little better, but they're certainly not making big steps or big strides unless they're doing it on a regular basis.
00:00.240: before the downloads.
00:00.240: I really don't.
00:00.240: a monthly payment as a as a bad thing necessarily.
00:00.240: What are your biggest pain points with the software?
00:00.240: And we have a lot of time lines to plow through.
00:00.240: The two of you would have cut on whatever you wanted.
00:00.240: And at some point, you're going to have to open up both projects and you can actually drag your timelines out of one and into the other.
00:00.240: You know, if I just network in and double-click on it and go.
00:00.240: Set up with the external thing.
00:00.240: Don't do that.
00:00.240: I ultimately, you know, I need to do it to get the confidence to do it again.
00:00.240: Again, you know, I'm kind of unique in the sense that I don't edit.
00:00.240: make little fixes and finish and put in an hour here, an hour there.
00:00.240: Well, it's tough.
00:00.240: You know, after the edit, oh, we watched it four times and we realized there's a frame of black between this and that that was lost.
00:00.240: I go to the tools where it was built and I make sometimes a mundane fix, like a spelling thing.
00:00.240: That I haven't worked on and make sure there's no problems or issues, that I haven't destroyed something that I that I possibly you know, it's possible I could
00:00.240: Break some stuff in doing that.
00:00.240: And oftentimes, that could be just as much an issue for the producer as it is for an editor, and you realize that these things go away.
00:00.240: Do what you need to do so you can go back into that room for the last hour and look at this and make sure that it's relatively error-free.
00:00.240: You have to know that you are choosing the absolute best moments of things.
00:00.240: Okay, that's part of the issue.
00:00.240: And let's face it, it's only those really big jobs where we even get to do something like that.
00:00.240: I'm looking at that shot.
00:00.240: And you do have to work quickly and do the best you can with what you're given in the timeline that you're given.
00:00.240: You know?
00:00.240: Gets done.
00:00.240: In a process where people are doing things creative, especially for me when I'm walking in and out of suites and going in and out of different projects in a day.
00:00.240: You know, certainly the appetite for media, and I love it, you know, the appetite for media and what we do has only increased.
00:00.240: I will say to a producer, let's get Paul in here.
00:00.240: I guess so.
00:00.240: I was like, you know, these postage stamps with a really pixelated talking head really aren't very appealing on the Internet.
00:00.240: Meant, that's it.
00:00.240: To get to episode 100, which it is tracking, will be Friday, the 21st of November.
00:00.240: and I will be posting the Google Hangout link that you can click on and follow.
00:00.240: Okay, go back to November 2004 and look at the way you were working, look at the tools you were working with, look at your level of optimism or frustration.
00:00.240: And that idea of future casting based on past history, I find it fascinating.
00:00.320: We think we're a little foggy on that, have to look up some old uh invoices to to know for sure.
00:00.320: And all of the details of doing that, what was his take on Final Cut?
00:00.320: Been for my insistence and influence that he would not have gone down the path that we've gone down.
00:00.320: Thanks for being here.
00:00.320: You know, oh what, you don't want me on the show?
00:00.320: You're very good at looking at like the giant big picture, and you can very easily sift through prioritizing things.
00:00.320: Dude, relax.
00:00.320: Platform, you know, they built on a platform for a lot of years, and every year you build on that platform, it becomes better and stronger.
00:00.320: But then, as I started to, if you remember, it was the spring of 12 when I did those two QAD projects back to back.
00:00.320: But there were two projects that only I had to touch, so I didn't have to drag anybody else through the mud.
00:00.320: And there were some key features.
00:00.320: Like, wow, this is so fast.
00:00.320: You know, because every other time I'd sat down to Final Cut, I was angry.
00:00.320: Yeah, and I think and we have seen some fall off.
00:00.320: You know, to say it's the right tool for us or the best tool for us, I really don't know.
00:00.320: Just get through it.
00:00.320: But it's not a fun process for me or for the editor.
00:00.320: Because we, you know, as a team, have decided that this is I mean, I think I'm speaking I'm not speaking out of line, this is the better tool for us.
00:00.320: And it hasn't drastically failed.
00:00.320: Virtually always would open up.
00:00.320: But there's nothing worse than realizing that you can't resurrect your project.
00:00.320: And you can go back in time and resurrect.
00:00.320: Right.
00:00.320: Fade into the background.
00:00.320: You do your thing and you're creative and you create things together.
00:00.320: And if you have an editor who's really struggling with the tools, whether it be technical issues or whether it be a lack of knowledge or not being comfortable with
00:00.320: the workflow and how things are organized, that can create a lot of problems.
00:00.320: not only more time consuming to get to the end product, but it'll affect the end product.
00:00.320: 10 was how many people are going to be adopting this.
00:00.320: Yeah, I mean and you know to to tie back to the musical analogy you know I think a lot of it is
00:00.320: But I mean I know when I came in, I didn't know the sphere.
00:00.320: and made it into a main suite and was doing some of the bigger projects.
00:00.320: And frankly, depending on the edit and how complex it is, it can be a tough day or a relatively easy day.
00:00.320: And then you started adding the Final Cut rooms.
00:00.320: So when I hired Acom, I looked for Acom editors to work on the system.
00:00.320: There's always little technical issues that happen in many projects.
00:00.320: Especially when it comes to a project, say that's a big screen, multi-screen blend project, and you say, yeah, we'd like to cut in final cut, they go, you know, it'd be better
00:00.320: where do you push somebody and when do you push somebody to do something they're not comfortable with.
00:00.320: And being comfortable with the tools is huge in that regard.
00:00.320: most of their stuff in Premiere and Avid to then go home and learn Final Cut when maybe 20% of their calls are for 10.
00:00.320: And a three hundred dollar onetime purchase is a lot more accessible than a fifty dollar a month consistent credit card charge.
00:00.320: It's in a lot of real estate in somebody's room.
00:00.320: everything we do now is a monthly charge.
00:00.320: you know, in bed on their laptop in a car.
00:00.320: you know, what tool turns people on and gets them working and what people get accustomed to.
00:00.320: Because I was working.
00:00.320: Adobe realized that their biggest issue was user interface design and workflow.
00:00.320: Reach in across the network, double-click on it, and you would have had two projects open simultaneously.
00:00.320: And then I think the only difference is you can't just drag the project from one to another, the timeline from one to another.
00:00.320: That I think it does better than Premiere.
00:00.320: If I can't get to it in 10 minutes, I'm past it already.
00:00.320: So there you go.
00:00.320: Okay, so this but this is this is what the really kind of the crux of this whole thing.
00:00.320: I like sharing those little details for other people that don't have the time or the wherewithal to like to figure that out.
00:00.320: You know, and if you're not confident in what you're doing, if you don't know, I, you know, I can go do that.
00:00.320: Because I wasn't confident I knew how to do it 100%, I perceived it as being too much of my time to do.
00:00.320: Or you help when you see and you have to look at the whole process and go, is this actually going to help or is it going to make it harder?
00:00.320: Sometimes it does, but sometimes it doesn't.
00:00.320: By jumping in, and sometimes you muddy the water, and sometimes you don't.
00:00.320: Yeah, it does seem scary.
00:00.320: Was basically, they might as well make it purge because more often than not, stuff disappeared.
00:00.320: I think there's something that will copy an item from one library to another.
00:00.320: the copy and merge and migrate or whatever, many of those items are contextual.
00:00.320: Because when you're browsing around looking for something to solve a problem, if you don't know that, you might have the wrong thing selected and you're browsing around and you don't see the thing that you actually need.
00:00.320: What are you doing in there?
00:00.320: You have said to me many, many times, it's all about the last 2%, and your frustration with editors who, myself included, who screw up that last one or 2%.
00:00.320: But it's getting making sure things are spelled right, that there's no flash frames.
00:00.320: say I'm going to have to you know not pay attention to some of the color that I could spend more time on.
00:00.320: There is misspelled.
00:00.320: To say, well, let's all, you know, I mean, I would love it.
00:00.320: Figured that there are going to be times that I'm going to have to come in and fix stuff because stuff is going out fast and furious and things get missed.
00:00.320: That's when and when you and I first met, I was like, do the last 2% because I don't want to come in this weekend.
00:00.320: Label a file master or final.
00:00.320: Or, I don't like the music, which is really a painful one to get on a Saturday.
00:00.320: Something.
00:00.320: thing.
00:00.320: when you can add value and what you can do to help the process along.
00:00.320: tired eyes, you know, and music was tired ears.
00:00.320: Yeah, you know, it's access to stories.
00:00.320: The final cut grill.
00:00.320: happen in a room that needs to be coming in on a on a Monday morning and see all the podcasting detritus around the suite with extra cables and mics and headphones laying all over.
00:00.320: And we're going to get on a Google Hangout.
00:00.320: But a really fascinating thing to do is to take any point in time, like let's say now, November 2014, and go back 10 years.
00:00.320: So it is an interesting exercise, and it will forever perplex us looking at the future.
00:00.400: No, we've you know you gave me a hard time a couple weeks ago and you said uh what uh
00:00.400: You know, he's been watching me do these podcasts for the last couple of years, and I think he rolls his eyes half the time and just like, oh, doing another one of your little shows, whatever.
00:00.400: and they were stoked about the whole um browsing history.
00:00.400: where the problems are.
00:00.400: And it's been stable.
00:00.400: get Creative Cloud installed on my laptop.
00:00.400: We did have problems with 10.
00:00.400: So I think by and large most stab most, not all, stability issues are probably isolated.
00:00.400: Independent contractors that are moving from house to house or doing in-house at corporate offices, because we do corporate video.
00:00.400: like the late nineties at the old company where you had you had the the room with the sphere in it
00:00.400: And you know, so it took it was kind of interesting because it took a while for those suites to for Final Cut to migrate out of the back closet into a pony suite.
00:00.400: we've seen that editors who start their editing career in ten have no issues.
00:00.400: imported or something like that.
00:00.400: song and dance, that cha cha cha, you'll just take the one labeled, you know, project hyphen Paul and stick that in your old folder and you'll have both your timelines in the primary project file, or all your timelines.
00:00.400: It didn't seem doable be it wasn't that it didn't seem doable.
00:00.400: And I hyper scroll down, focus on these tiny details.
00:00.400: No.
00:00.400: that was originated in the master project.
00:00.400: Overly nested things just to hide what he was doing to kind of jump security.
00:00.400: But a totally different story.
00:00.400: Yeah, I'll be getting in the car now and coming to the office.
00:00.400: To make sure you don't mess anything up.
00:00.400: And then everybody looks at me in the room and goes, Get out Wait, wait, wait, I'm hearing a little
00:00.400: Posting something, it would be nice if you made the link live on the web page so it actually pointed to a file.
00:00.400: Well, I will say that there is a certain amount of I'll call it etiquette that you want to participate in in an edit room.
00:00.400: Yeah.
00:00.400: With Paul, I had asked him, I kind of went off the rail there, and I said, Hey, where do you think the future of the business is going?
00:00.480: And I hope everybody appreciated that because we had a lot of fun doing that.
00:00.480: But no, this has been, you know, I was thinking about this this morning because the our division of
00:00.480: You know, initially there were a lot of obstacles with Final Cut 10, and it angered me in some ways because
00:00.480: And which is ballsy, and said, We're going to do something better.
00:00.480: And so, you know, you realize that, wow, there's a lot of R and D to kind of figure out how this is going to work and if it's going to work.
00:00.480: X, whatever.
00:00.480: You couldn't open the app because that timeline was open was trying to open.
00:00.480: A lot has been learned from stuff like that, and I haven't seen anything even remotely like that.
00:00.480: Final Content coming out at all.
00:00.480: are just working for them so that they can actually work.
00:00.480: You know what you're doing.
00:00.480: Is happening right.
00:00.480: To change what they do is difficult when 80% of what they do is not what you're asking them to do.
00:00.480: or to reload footage.
00:00.480: But they get nervous with tight timelines and big renders and lots of pixels.
00:00.480: And we're looking at them on one display, one to one.
00:00.480: You know, it just doesn't play well as a group editor unless you establish that.
00:00.480: And then open up the other project that is in the ancillary library, select all copy, go into the blank one, paste, you're done.
00:00.480: Or a piece of media, or whatever, those menu items change.
00:00.480: I give you the microphone and I want to hear your rant on the last 2%.
00:00.480: That and things happen in three or four days as opposed to a couple months.
00:00.480: Just to deliver.
00:00.480: You concern yourself and what you don't concern yourself with.
00:00.480: We don't have the luxury to say, yeah, the audio screwed up.
00:00.480: Those things, that little step of just making something live when missed is a killer.
00:00.480: He used to always hate it when people would drop in on a control room where a recording session was going on and just bring a bunch of negative attitude about stuff.
00:00.480: But I'm tickled that people are finding what what is compelling about video uh is what I found uh compelling about video, which is telling stories.
00:00.480: And as editors, we got to spend a whole lot of time with our noses down to the screen and cutting what we're working on.
00:00.560: But I wanted to talk to him as a facility owner and somebody who has to deal with multiple editors, multiple suites, multiple applications.
00:00.560: I hope everybody liked the premium beat episode that was.
00:00.560: That's a big part of it is that I don't have the luxury of time to go through and figure a lot of this out.
00:00.560: capabilities of it or something that drew us back into using it, saying, you know, we should explore this feature.
00:00.560: So having somebody come in and fumble around and edit for two days in an app that they don't want to use and aren't familiar with, not only costs me money.
00:00.560: five, six months and I have actually spoken to a lot of people that said in that first six months it wasn't stable, but it wasn't consistent.
00:00.560: But and the ability to recover has been something that in the last ten years is getting built into applications where they have auto saves.
00:00.560: Well, I mean, it is a big deal.
00:00.560: Or keyboards.
00:00.560: Pushing nav off the clip.
00:00.560: You know, there's a very early parallel here, though, because in the early days of Final Cut, Classic.
00:00.560: You know, there was no way that an editor who wanted to build an edit suite could do so.
00:00.560: Yes, but, you know, fifty bucks a month to a high school kid is a lot of money.
00:00.560: Got its fan base was from people who were like, wow, I can do this on my laptop or I can do this on my system at home.
00:00.560: That's not going to happen again, I don't think.
00:00.560: And you get it back in.
00:00.560: And just yesterday, and there are ways of circumventing this, and you've worked really hard on making that happen.
00:00.560: That won't be a problem.
00:00.560: When I do edit, I'm always scared screening stuff because every time you look at something, you find something.
00:00.560: And it doesn't, thankfully, it doesn't happen a lot.
00:00.560: In olden times.
00:00.560: Kind of knowing when my opinion is needed and when it's not needed is something that I learned over the years.
00:00.560: So, anyway, thanks for listening.
00:00.560: And then take that 10 years of history and flip it over using today's date as the fulcrum point.
00:00.640: For the big picture, and you know me, I can like you know, hyper-focus down to like, leave me alone, I'm trying to change the file name here.
00:00.640: And initially when we started using Final Cut 10, the problem seemed insurmountable.
00:00.640: our workflow tight and yours as well is tight and efficient so that we get things done as quickly as possible and allowing the creativity to kind of flow so the project is a better project.
00:00.640: But that was mostly the hard drive issue, right?
00:00.640: That was very sexist.
00:00.640: So let's talk about the let's talk about the easy days first.
00:00.640: the systems really don't give me grief these days.
00:00.640: With 10.
00:00.640: Are you seeing any interest in them of saying, Yeah, I've been trying to look at it or I've been working on it, or are they just like laughing at you?
00:00.640: I think the thing that's the most interesting is when you look at like the next generation of editors that are coming up, because they are by and large looking for accessibility.
00:00.640: Talking to an Adobe engineer once many, many years ago, and I said, What's the biggest problem that you have with Photoshop?
00:00.640: And that could be wrong.
00:00.640: No, I think obviously there's lots of things that I'd like to see resolved.
00:00.640: They emailed their last changes at three o'clock and they don't understand why they can't see it at four.
00:00.640: And that means that the visuals are going to get costs on the visual side.
00:00.640: I mean, that's what I do: pop in at the end of the edit and see how things are going, and hopefully, you know, get a chance to lay my eyes on something without saying anything like, Oh, couldn't you do the color better here?
00:00.640: So that'll be the live recording of episode 100, Wednesday night, 7 p.
00:00.720: Hello.
00:00.720: You would have gotten to the point of using Final Cut 10 if I had not been like sifting through the tiny minutia details that were a total pain in the beginning, right?
00:00.720: So, you know, and again, you knock on wood because you never know what'll happen.
00:00.720: You know, people working on a project, and I don't mean to get cheesy, but I kind of, in some ways, look at it as a musician coming into jam.
00:00.720: You know, they were like they were being drawn to this thing because of its accessibility.
00:00.720: with not a big investment in the olden times.
00:00.720: Well, it's been a while since I've worked in Final Cut VII, but as I recall, I have vague recollections.
00:00.720: Perception is a big deal, Chris.
00:00.720: And but you know, and those were really tough to go into nest upon nest upon nest and and you know, why is this thing nested five times?
00:00.720: And so, you know, there's a lot of responsibility there.
00:00.720: Tune in Wednesday night, November 19th at 7 o'clock p.
00:00.720: Why is that?
00:00.800: Responsibility, I guess, around the office is interesting.
00:00.800: And certainly the projects that have tight timelines, where it's like you need to cut really fast and really well, and they don't know the system as well, their speed is hindered by the fact that they don't know the system as well.
00:00.800: Do you see and I'm thinking more about some of the peripheral guys that you hire, and I don't want to name anybody.
00:00.800: If I could cut in Premiere, it's what I'm accustomed to.
00:00.800: So that was the issue is that I perceived it as, ah, yeah, that's a pain in the ass.
00:00.800: Okay, so the you cannot I don't believe you can just drag a project file from one library to another.
00:00.800: So, no, I have to do for myself.
00:00.800: Yeah.
00:00.800: Yeah, I really couldn't tell you.
00:00.800: And I have no idea what we're going to talk about.
00:00.880: And it's how could be operator error like the other day when I formatted a backup drive?
00:00.880: In the sort of niche that we have immersed ourselves in, we're asking editors to do a lot more than just edit.
00:00.880: And if you put an editor in there, they kind of looked at you like, I'm going to cut on Final Cut, because they knew when it came time to print a tape, it was going to be a long night.
00:00.880: Peace and what will make the person who's making that piece most comfortable and give them the ability to do the best job they can do.
00:00.880: You know, I recall having done it a lot and realized I worked in 10 or in classic for a long time.
00:00.880: And these are decisions that you make in an edit all the time.
00:00.960: And at that point, from a facility standpoint, you just kind of look at it and go, well, we're not even going to bother with this.
00:00.960: Or maybe we're just not busy enough.
00:00.960: There's very few things that are universally unstable, is my experience.
00:00.960: Which is kind of the way it is today.
00:00.960: And nine times out of ten, the feature that's being requested, Photoshop already does.
00:00.960: You would have taken the project file, the Final Cut project, the Final Cut Classic project file.
00:00.960: it works exactly the same now.
00:00.960: Yeah, but I think that the most definitive way of doing it that I can say with certainty right now is you make a new time a project that is associated with the master library.
00:00.960: Okay, anything else?
00:00.960: And we're not really crazy about some of the footage.
00:01.040: You just pissed off a client.
00:01.040: You weren't alone.
00:01.040: One of the big issues for me was realizing over time that people were kind of abandoning even using Final Cut 10.
00:01.040: You know, you're asking somebody to switch instruments in some respects when you're asking them to change.
00:01.040: Keep your mouth shut unless you have something constructive or positive to say.
00:01.040: And he goes, because who knows?
00:01.120: Will the client also see this?
00:01.120: it really was the same thing.
00:01.120: Did you not think it?
00:01.120: I will say that under the edit menu, there's a few things about the edit menu that are really important to keep in mind.
00:01.120: And so, you know, for me, in a lot of ways, in the last five years, I've kind of given up on the last 2%.
00:01.120: Most of them are after somebody has done a quote unquote final review, which is why you never want to
00:01.120: Work better.
00:01.120: In the last five or six years.
00:01.200: I want to thank the people at Premium Beat as always for supporting what we are doing here.
00:01.200: And that was really that big turning point.
00:01.200: When I walk into an edit suite, because I'm not sitting in the edit suite for 10 hours, I walk in and I kind of gauge the mood of the room.
00:01.200: At our place.
00:01.200: I think there is one issue about having the two projects excuse me the two libraries now.
00:01.200: But I don't use them enough to be air quotes power users.
00:01.200: And I can't turn to the producer and look at them cross-eyed and say, you know, check your spelling, do your job, so that I don't have to come in and fix this.
00:01.200: I don't know.
00:01.280: I don't.
00:01.280: Build a suite, you needed a room, and it was tough.
00:01.280: I appreciate it.
00:01.280: All right.
00:01.360: Hello.
00:01.360: Yeah.
00:01.360: Um Final Cut and were, you know, realizing there's a lot of power here, especially at at the time it was only a thousand bucks plus a computer.
00:01.360: have two people working on hold on on basically the same project.
00:01.360: No, you may have to use the move command.
00:01.360: In our edit schedule, to even watch all the stuff.
00:01.440: Remember in in classic where if you had the the whole issue of if you had a timeline open when you quit and one of the pieces of media that had been in that time line somehow became corrupted
00:01.440: Sasha, you're on your own.
00:01.440: You're ordering lunch four hours early.
00:01.520: Departments have switched to Premier, or they're working on Avids.
00:01.520: And so the more complicated the edit, the more changes, the more back and forth from After Effects or
00:01.600: And again, this is in regard so I said in the beginning of the show, you know, Paul's my boss.
00:01.600: If you say jam one more time, I'm going to throttle you.
00:01.600: Well, I kind of know how to do that, but I'm not as comfortable with that.
00:01.600: No one says outright, I'm not going to cut in that, because then they don't get hired.
00:01.600: For the good of the project, you always have to make concessions in some ways.
00:01.600: I think that there's at the end of an edit, and especially in our world where things are delivered very quickly.
00:01.600: I'm going, I know it's not great, but believe me, I did look at all of the options.
00:01.600: Do you want my opinion or not?
00:01.680: Hello.
00:01.680: Right.
00:01.680: And the tools just fade away.
00:01.680: There's your big 10-foot hurdle.
00:01.680: Uh, we will be back Monday with another episode of the Gorilla.
00:01.760: And it's entirely possible, I think, you know, where Final Cut Classic kind of
00:01.760: Especially when you've been working on a big project.
00:01.760: And one of the things that seems to always fall through the cracks is that quality control.
00:01.760: And again, you know, this comes back to that ability to create in the edit suite, and because you're not given a lot of time.
00:01.760: And it seemed that, which was good because I was younger and I was able to I didn't have kids and I could come in and fix stuff all the time.
00:01.760: Thanks.
00:01.840: At that point, and initially, when you and I first looked at it, we're like, yeah, this doesn't fit into the enterprise.
00:01.840: Now if this was my only machine, I would say Creative Cloud is a piece of crap, you can't even install it, and that wouldn't be accurate.
00:01.920: You're talking about R D on our end, not yeah, you know, just learning a new app, but also figuring out how it fits into the enterprise, as it were.
00:01.920: Yeah.
00:01.920: So once I got to the point where I figured, yeah, it will it we can do the jobs we need to do, can we then integrate it into the bigger picture?
00:01.920: 1.
00:01.920: Let's go do it.
00:01.920: Okay.
00:02.000: And so then that path of least resistance kicks in and you're like, seven, go.
00:02.000: And, you know, it was fun to edit again.
00:02.000: You know, I mean, we have to assume that people know what they're doing.
00:02.000: Right.
00:02.000: You elitist snob.
00:02.000: So, you know, it's again, I just don't think that's the issue.
00:02.000: But you could have done it exactly the same with no extra setup based on the way that we work by using the lean library.
00:02.000: And you're like, I'm fixing something.
00:02.000: Thanks again, Premium Beat, for supporting what we're doing.
00:02.080: Yeah.
00:02.080: And I remember seeing how you share a project in 10.
00:02.080: Any other big issue that something you'd like to see resolved?
00:02.080: Thanks, Gress.
00:02.160: Did you guys play Dungeons and Dragons on that thing?
00:02.160: And again, it's that big picture.
00:02.160: Anyway, but he was ugly too.
00:02.160: I know that Adobe claims you can open up multiple projects at a time.
00:02.240: I was like, I didn't think you, I thought you, you always like give me this look like, oh, you're doing your little podcast.
00:02.240: And then, you know, there were some key features because I think it wasn't, you know, there was a point where we'd kind of abandoned it.
00:02.240: 1, remember?
00:02.240: I could get two of them done, and by the end of the day, we could be compressing.
00:02.240: No, you know and and and certainly you know knowing where you need to be
00:02.320: No, no, exactly.
00:02.320: What did you install when I left the room?
00:02.320: With the final cut created.
00:02.320: It's also the access to an audience.
00:02.320: Yep, you got it.
00:02.400: But it also happened with Final Cut as well, in the early days of Final Cut.
00:02.400: And that kind of stuff just simply doesn't happen these days.
00:02.400: But not if you're like a high school kid.
00:02.400: Yeah, I know.
00:02.400: In the wrap-up of the show, I'll have the definitive on how to do this.
00:02.400: Right.
00:02.400: Who knows?
00:02.480: Well, let's talk about that because this is something that I think happens all the time.
00:02.480: But see, this is interesting.
00:02.480: I'm assuming we're going to mention Final Cut a couple of times, but it might be just, you know, hey, what do you think of whatever?
00:02.560: I said, Dude, I think you need to go home.
00:02.560: I don't think that right now I'm not seeing any projects that are giving me grief.
00:02.560: Just I'm working on number four, you know, down the hall.
00:02.560: And confidence comes from doing things multiple times or having time to fail, you know, and having the time to play.
00:02.560: And that's the real fear.
00:02.560: But so for me, the last 2% is really important because that's where my Saturday gets blown or my evening because somebody missed a spelling error.
00:02.640: Hey, good morning, and welcome to another episode of Final Cut Grill.
00:02.640: We're gonna do some editing, but this is my boss, Paul Koplick.
00:02.640: I don't know.
00:02.640: Um so let's talk about I I want to talk about more what you think the biggest drawbacks are or the biggest frustrations are that you have still.
00:02.640: And I know that Adobe, and I don't care, you guys can throw any knives you want at my back.
00:02.640: I don't know how I'll do it.
00:02.720: And for a new application or a relatively new application, and it was pretty stable out of the gate, that's great.
00:02.720: You know, when we started editing in Final Cut, which was early on, it was relegated to like the back closet.
00:02.720: You know, I'll hire in an editor and they'll say, I'm working in Final Cut.
00:02.720: So, you know, and I think that's you got to give people time.
00:02.720: On the back end of the problem, we are using every hour given us.
00:02.720: Things will be faster.
00:02.720: And there was a time when I really wondered, when I first started doing video compression, which I was really into.
00:02.720: I I do enjoy the show.
00:02.800: And because if you have a corrupted piece of footage or a corrupted timeline, sometimes even your autosaves don't save you.
00:02.800: I think in some ways it's harder for somebody to plunk down twelve hundred bucks to buy this or that.
00:02.800: But it was just as, it would have been just as difficult in seven.
00:02.880: That was like the main thing.
00:02.880: There were a couple of times where we had to delve into how are we going to save this at this point.
00:02.880: Yeah, it's very difficult to kind of get out of that.
00:02.960: But I mean, there's faces that we haven't seen since we really dove in.
00:02.960: There were many Avid editors that were cutting all day long in Avid, but they'd go home and on their little home Mac, they'd downloaded their or they purchased.
00:02.960: Management is misspelled.
00:03.040: And so, you know, I'm thinking, wow, I'm going to be asking people to edit on something that they don't know how to use or not, or aren't really interested in even learning.
00:03.040: I mean, I come from a music background.
00:03.040: There you go.
00:03.040: Yeah.
00:03.040: He'll have a fresh idea, a fresh outlook on something.
00:03.120: I've been trying for like a week.
00:03.120: But when you come into an edit suite and things are really humming and going well, that's where that's the synergy of everything
00:03.120: So I'm not comparing Final Cut 10 to a trike.
00:03.120: And I like spinning lots of plates.
00:03.200: You know, I have a lot of things.
00:03.200: And so you look at the process and you go, how much time am I really saving here?
00:03.280: And we fired that guy.
00:03.360: Right.
00:03.360: No, you know, most of the time I'm not my opinion is not w wanted.
00:03.360: You know, if you went back five years ago and said, do you think we're going to be where we're at today?
00:03.440: And I think you said that in those early days, it was like, oh, we'll put Final Cut on this machine.
00:03.440: And then you're finishing it and you're posting it and they want to see it right away.
00:03.440: Oftentimes, I've seen edits where the audio is shit, and we spend three or four hours trying to fix an audio issue.
00:03.520: There was a point really quick when we abandoned it.
00:03.520: Yeah.
00:03.520: I think a lot of that is also, though, it's the responsibility of the editor.
00:03.520: Yeah.
00:03.520: We're going to need another day for that.
00:03.520: So, you know, and and just be able to look at it uh uh and and be able to add some perspective.
00:03.600: Do you remember when we were cutting the Seven Lions video?
00:03.600: And where are the benefits to the client?
00:03.600: I'm knocking on wood.
00:03.600: Which brings me to the last topic that I want to cover briefly.
00:03.600: But anyway, I think certainly we've put a lot of processes in place to make the last 2%
00:03.600: Okay, so follow my Twitter at Chris Fenwick or at FCPX Grill.
00:03.680: I never touched the cube.
00:03.680: So the complaint was that it seemed like it was going to be a pain in the ass.
00:03.680: I would absolutely love it if at the end of every edit there was a time where we could sit down and have a little office-wide screening.
00:03.760: Yeah.
00:03.760: That and the whole mystery export time issue, you know, and that would be like late twenty ten.
00:03.760: You know, this is wrong here.
00:03.840: Rage is rage.
00:03.840: It's the way it is.
00:03.840: Off an iPad, yeah.
00:03.840: Well, I think the and this has always been the biggest pain point is the collaborative the not so collaborative nature of TEN.
00:03.920: He's like, Yeah, hold on.
00:03.920: And again, I'd knock on wood because I could go back to days where I had to cancel sessions because something got corrupted and I needed four hours to repair a system.
00:03.920: And most of the time, for what they're going to be doing, they're going to be building it in After Effects and assembling it in Premiere.
00:03.920: Yeah, those projects work great in Final Cut.
00:03.920: And the fact that somebody would pay $50 a month, kids are paying $50 a month for their phones, $100 a month for their data plans.
00:03.920: Why did that not seem like it was doable?
00:03.920: It just was a pain in the ass.
00:03.920: Merge these, oh, a bunch of stuff went missing.
00:03.920: You know, little you know, I don't want to harp on you here, but little things like when you're done
00:04.000: I mean, there's certain people that either, and actually you know better, either you know, they've been too busy, you know, unavailable, not interested.
00:04.000: You know, I don't know that for sure.
00:04.000: You know, and ultimately, those are other things that you think about when you're running a facility in multiple suites.
00:04.000: And then you have to kind of figure out
00:04.000: What type of projects are giving you the least grief right now?
00:04.000: Cable, you know, I don't see the Creative Cloud and
00:04.000: No, no, I am.
00:04.080: Okay, now I got a look here.
00:04.080: We were like, oh shit, they're going to want to edit and final cut.
00:04.080: Um, how's your new iPhone twelve six?
00:04.080: I'm not an editor.
00:04.080: Where do you see our business that we have chosen to work in here?
00:04.160: Well, I you know, it it's it's we're not talking about uh large sums and and big boxes and
00:04.160: I think you can be a grassroots.
00:04.240: And I think that's always my biggest concern is that
00:04.240: That's always been my biggest concern is I want to hire in people who come in and the tools
00:04.240: All right.
00:04.240: Well, there you have it.
00:04.320: But, you know, none of it was what I call fatal.
00:04.320: I'd like them to do it in Final Cut 10 because that's where 90% of our projects are being done now.
00:04.320: If you select that, there's a thing that says move to library.
00:04.320: I will look into it and I will report back to you.
00:04.400: And it was actually exciting to sit down and work in 10.
00:04.400: You know, some executive up the chain or somebody says, Oh, you know, that person was fired.
00:04.480: But it's interesting because I was thinking about it.
00:04.480: It was a passing fancy.
00:04.480: It's the perception.
00:04.560: Like, and I agree.
00:04.560: Like like really exactly the same.
00:04.560: So did you not I'm not trying to scold you.
00:04.560: That's a weekend killer.
00:04.560: Maybe.
00:04.640: Efficiency out the door because I perceived it and I am lazy.
00:04.640: I mean, you're working a project for four or five days
00:04.640: Manglement.
00:04.640: I think there'll be a big difference between five or ten years, obviously.
00:04.720: I knew as soon as I said, What, you don't want me on the show?
00:04.720: And initially, you didn't think it did.
00:04.720: We both used to work with an editor who would, I still say.
00:04.720: And let's face it, quite often, there are not enough hours.
00:04.800: Yeah, I mean, I know so many producers are like, oh, yeah, I'll do the content cut on the plane back from the shoot.
00:04.800: And certainly I take part of that.
00:04.800: I do.
00:04.880: You have a very
00:04.880: So for me, it's easier to throw somebody into a project that maybe doesn't have a tight timeline or
00:04.880: You wanted an edit system you were going to spend $60,000 on.
00:04.880: I believe you can merge two libraries.
00:04.880: It's going to affect the way and how much time we had to color and do the other things that we did.
00:04.880: And I think that and I think that more and more people are seeing that.
00:04.960: Just you're just like, wait, let's find a better job here.
00:04.960: Yeah.
00:04.960: I've and and yet I haven't installed on all the other machines in the office
00:04.960: Right.
00:04.960: And again, that goes back to having folks come in and be confident and know their tools.
00:04.960: I deconstruct it in my brain.
00:04.960: Yeah, the sparrow, the nester.
00:05.040: When you can't get anybody else, grab somebody who's in the room.
00:05.040: Like it it will show you every song you've looked at in case you forgot to favorite it or put it in one of the new playlists, which is like an audio light box, if you will, as an editor.
00:05.040: But you know, it's tough because they weren't building on a
00:05.040: But in Final Cut, I can open up both of those project files, the main and the main hyphen Paul.
00:05.040: Again, hyper-focus guy.
00:05.040: And, you know, it's down to 2%.
00:05.120: So that's really cool and pretty easy and accessible.
00:05.120: I wouldn't say all of them.
00:05.120: For some reason, it used to happen more.
00:05.120: Thanks for doing this.
00:05.120: m.
00:05.200: You got to come in and go out the door.
00:05.200: And so asking somebody to
00:05.200: And so I thought, well, I could jump in and cut a couple while they're cutting a couple timelines.
00:05.200: I wouldn't call myself an editor, but I edit all the time.
00:05.200: So you always see little things, but it's tough at the end of the day to critically watch what you've done and
00:05.200: I'm cutting, I'm cutting, I'm cutting, and now I have this little clerical thing I need to do.
00:05.200: We're gonna have another return guest.
00:05.280: And that's always one of my biggest concerns is keeping
00:05.280: I mean, it can be software, it can be hardware, you know, whatever.
00:05.280: And what extension set did you boot up with?
00:05.280: Well, I can't help you with that.
00:05.280: Right.
00:05.280: One more episode.
00:05.280: And then just you won't be able to participate, but you'll be able to listen in.
00:05.360: And it's how to handle that rage.
00:05.360: And that's been the difficult part.
00:05.360: So you just said that you didn't have the ability to
00:05.360: It's the perception.
00:05.360: We'll be delivering stuff on the internet.
00:05.360: California time.
00:05.440: This is 098 with Paul Cobley.
00:05.440: Yeah, that's not good.
00:05.440: There's there's you know there's always things you could spend more time on.
00:05.440: That rarely happens for us.
00:05.520: Anyway, check out the new website.
00:05.520: Yeah.
00:05.520: And certainly there was a lot more maintenance in the old days where I was coming in and I was turning extensions off and rebooting.
00:05.520: Right.
00:05.520: There are times when I've introduced other editors into an edit, or we split a project, or somebody comes in to help.
00:05.520: Anytime you show something to somebody, they find something.
00:05.600: I can't remember.
00:05.600: And you look at it and you're like, eh, it doesn't
00:05.600: In my twenty years in the business, it's only happened maybe a handful of times that we've actually had to reconstruct a project, just go back and go, Yeah, the drive died or
00:05.600: And it's like, oh, this is corrupt.
00:05.600: Fade into the background and
00:05.600: And those were the main systems.
00:05.600: Because it's been a while since I've done that.
00:05.600: So you know what?
00:05.600: Right.
00:05.680: So is it that big of a deal?
00:05.680: That may be true.
00:05.680: Wouldn't it be great if I could work for 15, 20 minutes in this project?
00:05.680: Yeah, the the two that combined, you we don't like the music and it's a little too long.
00:05.680: And so I hope people continue to want to do a lot of cutting.
00:05.760: And, you know, to be fair,
00:05.760: And because Final Cut was difficult out of the gate, a lot of these people have kind of turned their backs on Final Cut 10.
00:05.760: And there's a lot of moving parts in an edit like that.
00:05.840: From all of the various edit systems that you've had to deal with and manage, and people that you've had to deal with and manage.
00:05.840: And then you know, in those days you hired an editor for the system.
00:05.840: But it also didn't hurt that you were doing a lot of stuff for Apple then, too.
00:05.840: And I remember there was an XML out.
00:05.840: You're the giant big picture person.
00:05.840: And I think the difficulty is, and it's part of the reason why I do this stupid show, is
00:05.840: You know, there's little hitches that happen in that.
00:05.840: And so that's on the front end of an edit, that's a problem.
00:05.920: But there are some key features that you look at, like the multicam.
00:05.920: It is going to affect things.
00:05.920: And so you kind of have to gauge those situations.
00:05.920: Ah, y yeah, I don't see money as the issue here.
00:05.920: But then I was like, ah, you know, it's just a pain to set it up so that I can do that.
00:05.920: At the very least, you can select all copy and paste into a new timeline, that is, or a new project.
00:05.920: Right.
00:05.920: And ultimately, that's what it's about.
00:06.000: It's been working really well.
00:06.000: I mean, everybody's editing now in their home.
00:06.000: Duped it.
00:06.000: And so and it was something that I hadn't done.
00:06.000: I don't care.
00:06.000: Sometimes it's great.
00:06.000: And that's really important to remember because, and it's one of my beefs with contextual menus.
00:06.000: And so it's easy to have those little things fall through.
00:06.000: Thanks for coming in early.
00:06.080: And um
00:06.080: And so, you know, and I think that's an experience.
00:06.080: And so my biggest concern with
00:06.080: If they're normally a guitar player and you're like, ah, today you're going to play bass.
00:06.080: And again, it comes down to what is going to make the best
00:06.080: Confidence?
00:06.080: And this is the best one.
00:06.160: You know, I know it's a good tool and it's working.
00:06.160: Because in olden times, it was, you know, an edit system would crash every week.
00:06.160: So I wouldn't call myself an expert in any of these tools.
00:06.160: Just saying, I don't like it, and turning around and walking out.
00:06.160: I like watching it.
00:06.160: m.
00:06.240: Was it the last episode or a couple episodes ago?
00:06.240: Classic.
00:06.240: It certainly hinders the creative process and it makes it
00:06.240: I mean nowadays accessibility being the difference between $1,200 or $2,000, that's a drop in the bucket.
00:06.320: Okay, we've got to get that system out of here, move something else in, and then you put an editor down there who's going to go, okay, I'll cut and final cut.
00:06.320: And the unfortunate thing is, if you don't have somebody that you use regularly, maybe it's somebody you see every month.
00:06.320: There was a lot of, you know, there was a lot of merge features in other editors.
00:06.320: And sometimes it's invaluable to get that other output.
00:06.400: Does it do something really well?
00:06.400: And usually, when you find something where you find a person, it's like, oh, this is crap, you know, like right now, I cannot for the life of me.
00:06.400: Yeah.
00:06.480: Like, the first six months, I was just like, you know, whatever.
00:06.480: Exactly.
00:06.480: You don't want to format your work drives.
00:06.480: And those become big issues for me because obviously I'm not going to call the editor in, so I go in.
00:06.560: And I'm pretty convinced that it had it not
00:06.560: So, you know, what you find is
00:06.560: There's times when I walk into the room and I see you like, you know, waist deep in somebody's After Effects project.
00:06.560: You know, at the end there, we talked about the last 2%, and this is episode 98.
00:06.640: So most of it today is getting people up to speed, is the learning issue, is the learning curve with
00:06.640: And actually, that's where Final Cat 10 really shines.
00:06.640: Duped it.
00:06.640: And you'll be looking for a link on Twitter.
00:06.720: And then you're like, wow, that's really cool.
00:06.720: Classic.
00:06.720: And all of a sudden, the whole app doesn't go.
00:06.720: Okay, hold on.
00:06.720: Or, you know, we've been playing that big screen open in our rehearsals and
00:06.800: So I think the fact that and I remember when we were using Premiere
00:06.800: And at that point, I was angry.
00:06.800: I think it comes down to
00:06.800: I said, fuck it.
00:06.800: And so in that sense, you have to make some decisions as to what
00:06.800: We will uh have that on Monday.
00:06.880: It means a lot.
00:06.880: So I'm sitting here while you're talking and barely listening now.
00:06.880: I figure out how it was built.
00:06.880: But then the tough part is, I then have to look at this thing.
00:06.960: But I also think that it's in the long run, we've made a good decision, and you'll hear about that.
00:06.960: And for me, it's difficult to stick somebody in a suite with a client and be like, don't be angry.
00:06.960: Those were the main rooms.
00:06.960: But, you know, certainly when I look at the past.
00:06.960: You wanted to split up some time lines.
00:06.960: You have to like
00:06.960: I perceived it as being more difficult in seven.
00:07.040: I don't think
00:07.040: And so that's unfortunate.
00:07.040: And he said, He said, We get feature requests all the time.
00:07.040: So make sure you tune in for that.
00:07.120: That I was opening myself up for something.
00:07.120: You know, that was one where that was kind of the first time where I was.
00:07.120: Seven?
00:07.120: And then when you're done, you'd save and quit.
00:07.120: Is splitting this render between three machines going to make it easier and faster?
00:07.120: Because I'm already past it.
00:07.120: And depending on what you have selected in the browser, whether you have a library selected or an event,
00:07.120: So thanks again.
00:07.200: Get a little closer.
00:07.200: And it was a learning process to figure out, you know, how does this work
00:07.200: So, how did you deal with it?
00:07.200: But I had an editor working in a suite next to me.
00:07.200: That's going to be.
00:07.200: And it's going live.
00:07.280: Absolutely.
00:07.280: So, you know, I think it took two years before Final Cut came out of the closet.
00:07.280: And I think that
00:07.280: One in the primary room, one in the secondary room.
00:07.280: You know, a lot of times you do look at a project and you can see something stumbling and you learn
00:07.280: And I really couldn't see the value of compressed video delivered over a 56K modem.
00:07.280: And, you know, yep, we're going to get faster computers.
00:07.360: That was the first time.
00:07.360: That's always the difficult part in
00:07.360: California time.
00:07.440: And it was a good tool, and they pretty much bulldozed it.
00:07.440: There's no point.
00:07.440: And the issue is that a lot of contractors
00:07.440: Okay, so I'll tell you what you would have had to do.
00:07.440: Yeah, that'd be great.
00:07.440: That would be another way of dealing with that.
00:07.520: Paul's my boss.
00:07.520: And so.
00:07.520: Right, because it's because it auto-saves and it
00:07.520: Yeah, but again, what it comes down to ultimately is this comfort factor and
00:07.520: And it's, you know, I wouldn't expect somebody who's busy, an independent contractor who's busy, and cutting
00:07.520: And then you'll archive away the when you're done with that
00:07.520: Renamed the second one Paul.
00:07.520: Oh no, you just navigate in and you pick what you want to open.
00:07.520: And I'm paying you a lot of money to do the last 2% to make sure that
00:07.600: But yeah, I mean, there were some people that thought it was really unstable.
00:07.600: No, ten.
00:07.600: I thought I remember there was anymore.
00:07.600: And, you know, oftentimes.
00:07.600: And we stopped recording and we took off the headphones, and he goes, You know, I hate those future questions.
00:07.680: Or what's your thought on that?
00:07.680: I mean, when things gel, the tools that you use
00:07.680: And so they, you know, they very early along.
00:07.680: I don't remember if I would open and open another copy or if I would just open both.
00:07.680: It's awesome.
00:07.680: You do.
00:07.680: But it's really important at the end of the edit to, you know
00:07.680: Or, you know, we're going to grab another day here to color this and finish, quote unquote.
00:07.680: We have just one change.
00:07.680: Right.
00:07.680: Maybe.
00:07.680: We should get back to work.
00:07.760: It's amazing.
00:07.760: Yeah, you know, you at the end at the beginning of the day, you gotta work.
00:07.760: It's like, I can't even figure out how to.
00:07.760: This is interesting.
00:07.760: No punatant?
00:07.840: Do you see
00:07.840: And I moved on.
00:07.840: No, exactly.
00:07.840: There have been many times when we're in the middle of something and
00:07.840: And now imagine what the next 10 years could be like.
00:07.840: Thanks for listening.
00:07.920: I wasn't angry.
00:07.920: I've been working with you since
00:07.920: I mean, we work at a level where we're assuming
00:07.920: No, I'm not going to cut in that.
00:07.920: Did you really see that?
00:08.000: I like this microphone.
00:08.000: And yeah, I'm getting this unhappy Mac face now.
00:08.000: It seems it's a drop in the bucket, you know, to you.
00:08.000: You had an hour.
00:08.080: And that's a difficult thing, too.
00:08.080: And when in the early days of final.
00:08.080: It's very easy
00:08.160: And then you explore, you know, you learn how to do that.
00:08.160: It's interesting because you've probably talked about this on the show, but you know, that.
00:08.160: I mean, it really is in some situations of no skin off my nose if they're cutting in Premiere or assembling in Premiere.
00:08.160: Maybe the only difference would be that once you have because again, this is a huge thing in Final Cut X.
00:08.160: Oh, actually, one last thing I want to mention.
00:08.240: I kind of deal with figuring things out as a problem arises.
00:08.240: I've told the story about
00:08.240: But I'm doing more surgical editing in the sense that I go in and
00:08.240: And those are the things that I end up having to fix the next day.
00:08.240: And you are asking an editor who's worked 12 hours straight.
00:08.320: I've been working with Paul since about the year 2000.
00:08.320: Yeah, I remember that first night we were sitting there, and it was like
00:08.320: Oh, mm.
00:08.320: And I've seen that with some editors, and they're still willing to cut in 10.
00:08.320: And they'd rather spread it out over payments.
00:08.320: And that is exactly what I would expect.
00:08.320: Many of
00:08.400: I wish it could do everything as well as it does this one thing.
00:08.400: Or if we have seen them, they have just said, Oh, no, I have to use this or whatever.
00:08.400: That's definitively.
00:08.400: I take on part of the responsibility of making sure the last 2%
00:08.400: You know, and and
00:08.400: Where do you see us in this industry in, let's say, five or ten years?
00:08.400: Oh, there's my phone.
00:08.560: I was just like, why we can't use this?
00:08.560: And it kind of grew out of that as a grassroots edit system.
00:08.560: I didn't know you were having this issue yesterday.
00:08.560: It sounds like it.
00:08.560: But I think the important thing to do is to spend a certain amount of time looking forward.
00:08.640: You're like
00:08.640: And it's interesting, you know, I mean, I
00:08.720: And so at that point.
00:08.720: Well, you know, I mean, accessibility has changed so greatly in the last fifteen years.
00:08.720: I don't do regularly in 10.
00:08.720: Well, no one likes that.
00:08.720: Case in point.
00:08.800: I've been showing it to some of the producers that we work with around the office here.
00:08.800: Yeah, it was a couple episodes ago.
00:08.800: So thank you, Premium Beat.
00:08.800: It hasn't been.
00:08.800: Some people said, oh no, I I didn't have any problem with it.
00:08.880: What do we do?
00:08.880: This is kind of interesting.
00:08.880: Yeah, it's sort of the the visual equivalent of putting out on a cassette and driving around the block and listening to it in your car.
00:08.880: Now, if you want to actually see that show get recorded.
00:08.960: You know, in any app, when it's like merge this stuff, no.
00:08.960: That seems scary.
00:09.040: So that's why we could see all 5900 pixels with actually some spare space.
00:09.040: Right.
00:09.040: Yeah, what's the problem?
00:09.040: But also, you know, a lot of the fixes that we do probably
00:09.120: Yeah, hey, here, sit down.
00:09.120: And to move over here, and it was really easy to break things.
00:09.120: We got to, we got to cut them out.
00:09.120: It's just a small change.
00:09.120: Yeah.
00:09.120: And
00:09.200: So what are your biggest pain points?
00:09.200: I got news for you.
00:09.200: Right.
00:09.280: And so that was kind of a killer right away.
00:09.280: In general, that's a good rule.
00:09.280: Yeah, I mean, we just did the Schwab open.
00:09.280: It's not like the edit is very difficult.
00:09.280: How tell me how you would have done that in Final Fet 7?
00:09.280: Thanks for having me, Chris.
00:09.280: And maybe I'll put it on the Facebook thing, too.
00:09.360: It's easier just to be quiet and slink out of the room.
00:09.360: Yeah.
00:09.360: But, you know, we'll try.
00:09.360: Gotta go later, later.
00:09.440: Here we go.
00:09.440: In actuality, a lot of the things that I do are passing fancies.
00:09.440: The key phrase in there is: you can't help me.
00:09.440: And, you know, I do like thinking about the future.
00:09.520: And merge.
00:09.520: But if you don't do it, it's not done.
00:09.520: You know, my friend Jeff, the musician,
00:09.600: And a big issue too, when you're trying to be efficient is confidence.
00:09.680: Okay.
00:09.680: Yep, we're going to get smaller computers.
00:09.760: And I was like, I'm just going to do this.
00:09.760: And I think that, you know.
00:09.760: We didn't plan on talking about any of this.
00:09.760: We are being asked to edit things we haven't looked at.
00:09.760: Uh-huh.
00:09.840: And I'm putting together a cast of past guests.
00:09.920: You like that?
00:10.000: But I you know, again, I I don't think that money is the issue here.
00:10.000: See, the point is that you could have, and it was really just a perception thing.
00:10.000: And then you purge it when you're trying to merge it.
00:10.000: You're not winning an award today.
00:10.000: I've kind of
00:10.000: That's not a good thing.
00:10.080: Um.
00:10.080: You don't want to put a minefield in front of the guy either.
00:10.080: And certainly
00:10.080: But I do think that there is a copy between
00:10.080: And I think the other problem is as an editor.
00:10.080: By the way, this is the first episode I've recorded on the 5K iMac.
00:10.240: Now I gotta go.
00:10.240: And then you would walk next door.
00:10.320: So those are a little bit more difficult, those projects.
00:10.320: Yeah, like those days when we were
00:10.320: We just want to change the music.
00:10.320: Can we cut thirty seconds out of it?
00:10.400: It's nice to have somebody come in and who hasn't you know, who doesn't have
00:10.400: We are down to only 2% more.
00:10.480: Anyone have any ideas?
00:10.560: All right.
00:10.560: Right.
00:10.560: Yeah.
00:10.640: And they struggle through it.
00:10.720: Yeah, I do.
00:10.720: I can get around in all of them.
00:10.800: You're trying to.
00:10.800: But it happened a lot.
00:10.880: You know, it's interesting.
00:10.880: Right.
00:10.960: And you're like, ugh, whatever.
00:10.960: Or that's not one of our keywords.
00:10.960: Anytime.
00:10.960: We'll make it entertaining.
00:11.040: So we got up early to record this show.
00:11.040: No, it's not good at all.
00:11.040: At the end of that conversation,
00:11.280: As somebody who's running a small facility,
00:11.280: And so I come in.
00:11.360: So.
00:11.360: You may have to export it.
00:11.440: How did you deal with it in
00:11.440: In my mind, dragons be there, and I didn't go.
00:11.520: Prior to
00:11.600: Yeah, you know, I think that
00:11.600: So the whole stability thing, I always
00:11.600: I don't like obsessing over it, but it, but.
00:11.680: We really didn't touch it much for the first
00:11.680: If you learn to ride a trike,
00:11.680: That's because you were editing.
00:11.680: So I was like, eh.
00:11.680: And it's a little too long.
00:12.000: And ultimately, I think that
00:12.000: I tweeted the other day the
00:12.000: You know, what does this need?
00:12.000: And so naturally,
00:12.400: So, Paul.
00:12.400: There have been a couple of those, which are a pain.
00:12.400: I'm like.
00:12.480: Sure.
00:12.560: Right.
00:12.800: That's not a good thing.
00:12.960: I mean,
00:13.040: Somebody pointed it out to me.
00:13.040: I know.
00:13.040: Agreed.
00:13.120: A lot of
00:13.280: How'd it go today?
00:13.360: You know, they were
00:13.440: And it's.
00:13.600: Paul just walked out of the room.
00:13.680: Yeah.