# Episode 99 **FCG098 - Speakign Persuasively!!! (feat. Charles Silverman)** There are so many aspects of FCPX to discuss and you can’t talk about it without delving into the Mac OS as well. Charles Silverman and I had a lot of Skype problems one night and re-recorded a few days later… and this is what you get… Honestly, it was better the first night. --- ## Download - [MP3](https://cdn.fcp.cafe/grill/FCG099-Charles-Silverman.mp3) --- ## Featuring - [Chris Fenwick](http://chrisfenwick.com) - Charles Silverman - @csilverman --- ## Transcription **`00:00.880:`** **Speaker 1**: Hey, good morning and welcome to another episode of Final Cut Grill. **`00:03.920:`** **Speaker 1**: This is Monday morning, November 17th, 2014, and this is episode 099, one more to 100. **`00:13.060:`** **Speaker 1**: So, in the lead up to episode 100, it's getting harder and harder. **`00:19.300:`** **Speaker 1**: It's not that I can't find people that want to talk. **`00:21.780:`** **Speaker 1**: It's my own schedule and **`00:25.420:`** **Speaker 1**: and like lining up guests and all the logistics of it. **`00:29.020:`** **Speaker 1**: You'd be surprised at how many emails or texts **`00:33.720:`** **Speaker 1**: Or tweets or whatever it takes to set up just one interview. **`00:38.280:`** **Speaker 1**: Some of them go very easy, but some of them are like, ah, really? **`00:41.720:`** **Speaker 1**: You know, and like, I have people I've been trying to get them narrowed down for literally months. **`00:48.220:`** **Speaker 1**: So, yes, two a week, not easy. **`00:52.380:`** **Speaker 1**: If you'll notice, Friday's episode didn't happen Friday. **`00:55.340:`** **Speaker 1**: It came out Saturday. **`00:57.020:`** **Speaker 1**: It actually comes out late. **`00:58.720:`** **Speaker 1**: uh Friday, whatever. **`01:00.160:`** **Speaker 1**: It's it's a whole Libson thing nightmare. **`01:02.960:`** **Speaker 1**: Um, at any rate, uh, t today I have um Charles Silverman on the show. **`01:07.920:`** **Speaker 1**: Now, Charles **`01:08.960:`** **Speaker 1**: Was on another show months ago. **`01:11.600:`** **Speaker 1**: I g I can't look it up. **`01:13.200:`** **Speaker 1**: I want to say like in the forties, maybe thirties. **`01:15.520:`** **Speaker 1**: Anyway, great conversation. **`01:17.120:`** **Speaker 1**: He talked a lot about just h his philosophy was that the the big agency was dead. **`01:22.840:`** **Speaker 1**: And I gotta agree. **`01:24.360:`** **Speaker 1**: And today, we have a very unusual conversation because we tried to record this show **`01:32.820:`** **Speaker 1**: Let me think. **`01:33.380:`** **Speaker 1**: I think we tried to record it Thursday night, and I have no idea what was going on, but some for some reason at the office here at Slice Editorial, the Internet was not working. **`01:43.860:`** **Speaker 1**: And we would go like **`01:47.220:`** **Speaker 1**: Yeah, like that. **`01:48.180:`** **Speaker 1**: It would just go like it would just cut out completely. **`01:50.659:`** **Speaker 1**: And we were redialing and redialing. **`01:52.820:`** **Speaker 1**: And it was so frustrating because the conversation was going really well. **`01:56.439:`** **Speaker 1**: And it was like, I can't I don't want to spend the time to salvage this and cut it all together. **`02:01.159:`** **Speaker 1**: So we just I canceled it. **`02:02.920:`** **Speaker 1**: I said, Hey, dude, let's try this another time. **`02:04.439:`** **Speaker 1**: So we got together today. **`02:06.679:`** **Speaker 1**: Today is the what would day be the 15th Saturday morning. **`02:10.440:`** **Speaker 1**: And we recorded it, and it's nowhere near as good as the conversation we were having. **`02:14.120:`** **Speaker 1**: But anyway, we talked a little bit about some specifics of Final Cut 10. **`02:18.200:`** **Speaker 1**: We also talked about some Macintosh **`02:21.220:`** **Speaker 1**: um, utilities. **`02:22.500:`** **Speaker 1**: One in particular, um God, I'm rehashing the whole interview. **`02:26.340:`** **Speaker 1**: At any rate, um, I think you're going to enjoy this. **`02:28.739:`** **Speaker 1**: Although I will say the one we recorded Thursday night was way better, or it could have been. **`02:32.980:`** **Speaker 1**: I also want to thank our good friends at Premium Beat. **`02:35.520:`** **Speaker 1**: For stepping up and supporting what we've been doing here for several months now, and they're great. **`02:41.520:`** **Speaker 1**: Please go check out the new website. **`02:43.200:`** **Speaker 1**: And if you didn't catch the episode a couple episodes ago with Danny Greer, **`02:46.740:`** **Speaker 1**: He went through we went through all the new features and we actually I kind of signed you know discovered a bunch of stuff just while I was talking to him. **`02:53.860:`** **Speaker 1**: So that's totally worth a listen. **`02:56.340:`** **Speaker 1**: The music is great, the loops are great. **`02:58.420:`** **Speaker 1**: I just did a piece literally just this week where we downloaded the loop pack and we had this long piece that we had to like control the mood of it going forward and you know **`03:07.740:`** **Speaker 1**: Bring it down, build it back up again. **`03:09.900:`** **Speaker 1**: And the loop packs absolutely did that. **`03:11.980:`** **Speaker 1**: And you know, when I do that with producers, they totally get it. **`03:15.660:`** **Speaker 1**: They see it and they I mean, you can see it in the waveform. **`03:18.700:`** **Speaker 1**: It's like, oh, wow, I can extend this out. **`03:21.640:`** **Speaker 1**: It's absolutely worth looking at. **`03:23.560:`** **Speaker 1**: And I don't I don't you know, I don't know everything about every other music licensing company, but I think that's kind of unique. **`03:32.420:`** **Speaker 1**: And again, yeah, this is episode 99. **`03:36.980:`** **Speaker 1**: So if you only get this far into the show, please remember this. **`03:41.940:`** **Speaker 1**: Wednesday night. **`03:44.020:`** **Speaker 1**: November 19th, Wednesday night, November 19th, 2014. **`03:50.020:`** **Speaker 1**: If you look at my Twitter feed at Chris Fenwick or the show Twitter feed at FCPX Grill. **`03:56.920:`** **Speaker 1**: I will be tweeting a link for you to log on and go to the Google Hangouts. **`04:03.240:`** **Speaker 1**: You'll have to figure out the whole Hangout thing. **`04:05.160:`** **Speaker 1**: It's worth it. **`04:06.200:`** **Speaker 1**: Actually, it's **`04:07.379:`** **Speaker 1**: Sometimes it's a total pain. **`04:09.459:`** **Speaker 1**: I wish it actually just worked better. **`04:12.579:`** **Speaker 1**: When it works, it works great. **`04:14.019:`** **Speaker 1**: The functionality to get into it is an absolute pain. **`04:17.060:`** **Speaker 1**: But we are going to record episode 100 **`04:20.600:`** **Speaker 1**: um live uh with a panel of guests uh that have agreed to log on. **`04:26.280:`** **Speaker 1**: And it's basically past guests that have been on the show. **`04:29.720:`** **Speaker 1**: So um we're going to record that live Wednesday night. **`04:32.840:`** **Speaker 1**: We'll probably have a **`04:35.180:`** **Speaker 1**: I think there's a way to do like chat, and maybe I'll have somebody monitor it and we can answer questions or whatever, you know, make it like a big event. **`04:42.060:`** **Speaker 1**: But I'm going to take that audio from that event, and that will be the Friday show. **`04:45.580:`** **Speaker 1**: So if you missed Wednesday night, the **`04:48.220:`** **Speaker 1**: nineteenth. **`04:48.940:`** **Speaker 1**: Don't sweat it. **`04:49.660:`** **Speaker 1**: You'll be able to download the audio from that on Friday the twenty first, which will be the show one hundred. **`04:56.780:`** **Speaker 1**: And I gotta say, I don't know if I can keep doing this **`05:02.020:`** **Speaker 1**: To a week. **`05:03.300:`** **Speaker 1**: But I will also say if somebody wants to like chime in and maybe help organize, you know, line up **`05:09.160:`** **Speaker 1**: Guess, maybe there was a way we could set up something where I could like give you a list of names and say, Here's people I'd love to talk to, or you could try. **`05:16.040:`** **Speaker 1**: I don't know, that maybe there's an opportunity for somebody to help. **`05:18.840:`** **Speaker 1**: Help out. **`05:19.800:`** **Speaker 1**: At any rate, let's go to ni the interview now with Charles Silverman. **`05:23.720:`** **Speaker 1**: He's in Connecticut. **`05:24.520:`** **Speaker 1**: He's been using Final Cut 10 for a while now. **`05:28.040:`** **Speaker 1**: Again, he's a past guest, but I hope you enjoy this conversation. **`05:32.340:`** **Speaker 1**: Anyway, good morning. **`05:33.220:`** **Speaker 1**: How are you doing today? **`05:34.340:`** **Speaker 1**: I'm good, Chris. **`05:35.220:`** **Speaker 1**: How are you? **`05:36.180:`** **Speaker 1**: I was just going to play you something. **`05:37.620:`** **Speaker 1**: Does it sound familiar? **`05:41.300:`** **Speaker 1**: It does. **`05:44.140:`** **Speaker 1**: Just looking at the Indigo Six site. **`05:46.940:`** **Speaker 1**: So we, you know, we tried to record this last ni uh the two nights ago, and uh the Skype gods were not friendly. **`05:53.660:`** **Speaker 1**: That's because Kim Kardashian's ass was all over the internet. **`05:58.280:`** **Speaker 1**: I love the campaign, Let's Break the Internet And they did, at least for us. **`06:05.800:`** **Speaker 1**: What when did that get released? **`06:09.419:`** **Speaker 1**: Was it actually that day? **`06:11.259:`** **Speaker 1**: It might have been the day before, but it it gave everyone enough time for parodies and. **`06:16.139:`** **Speaker 1**: Oh, yeah. **`06:16.780:`** **Speaker 1**: Good point. **`06:17.419:`** **Speaker 1**: Good point. **`06:18.580:`** **Speaker 1**: So, um and anyway, we started talking and the phrase um speaking persuasively came up, and I can't remember how, but we we were getting into some really interesting little like **`06:30.960:`** **Speaker 1**: Mac solving problems like where did these features go? **`06:36.400:`** **Speaker 1**: And um, I really barely remember. **`06:40.000:`** **Speaker 1**: Um, what were we talking about? **`06:44.180:`** **Speaker 1**: We were talking about auspicious beginning of a show. **`06:48.819:`** **Speaker 1**: Yeah, I don't know. **`06:49.940:`** **Speaker 1**: Why don't go? **`06:52.940:`** **Speaker 1**: Did you get my email, by the way? **`06:54.540:`** **Speaker 1**: I'm just looking for it now. **`06:55.979:`** **Speaker 1**: I'm remembering that you sent me some notes. **`06:57.979:`** **Speaker 1**: I was like, this is what we talked about. **`06:59.419:`** **Speaker 1**: And I was like, oh, I opened my mouth and I haven't even looked at it. **`07:02.139:`** **Speaker 1**: I'm running late today. **`07:03.979:`** **Speaker 1**: Did you send it to **`07:05.840:`** **Speaker 1**: My Mac account or my a DCC. **`07:08.880:`** **Speaker 1**: Okay, that's a different that's a different window on my computer box here. **`07:12.480:`** **Speaker 1**: One second. **`07:13.760:`** **Speaker 1**: Go ahead. **`07:14.320:`** **Speaker 1**: What were you saying? **`07:15.560:`** We were I was asking you actually about editing with clients in the room versus remotely. **`07:23.520:`** **Speaker 1**: Yeah, um yeah, you know, we it's funny that you bring that up because that was a giant issue this week. **`07:33.040:`** **Speaker 1**: You said, like, how much of my work do I do with people over the shoulder? **`07:36.560:`** **Speaker 1**: And I would say, honestly, probably I think about sixty **`07:44.360:`** **Speaker 1**: 60 to 70 percent of the time, maybe 50 to 60 percent. **`07:48.199:`** **Speaker 1**: I'm here I am doing all this like complex math. **`07:51.080:`** **Speaker 1**: A little over half the time, somebody is either literally right next to me. **`07:55.159:`** **Speaker 1**: I have one client **`07:57.120:`** **Speaker 1**: she works for Schwab, and she she totally ignores the fact that there's a producer desk in the back of the room, and she rolls a chair up right next to me, and our armrests are **`08:07.260:`** **Speaker 1**: bumping into each other and I just keep like moving c further and further away to give her you know, basically she wants to she wants my desk. **`08:16.720:`** **Speaker 1**: But and then she might like she might like you, Chris. **`08:22.480:`** **Speaker 1**: I'm not going there. **`08:26.780:`** **Speaker 1**: But the dynamic is that quite often we are working on things that are very time sensitive, and there's not **`08:37.339:`** **Speaker 1**: I actually prefer having somebody in the room. **`08:39.899:`** **Speaker 1**: And I've had this discussion with Ron Dawson once, and he's like, You let them in the room? **`08:44.380:`** **Speaker 1**: I go, Ron, they're paying for it. **`08:45.740:`** **Speaker 1**: I got to give them whatever they want. **`08:47.880:`** **Speaker 1**: Um but I prefer it because problems get solved quicker. **`08:54.120:`** **Speaker 1**: And instead of like **`08:55.720:`** **Speaker 1**: you know, trying to, you know, imagineer what they may or may not have meant in that email, voicemail, Twitter message, text message or phone call. **`09:08.420:`** **Speaker 1**: You can just say, hold on, wait. **`09:10.019:`** **Speaker 1**: Do you you know, you can get those points of clarification. **`09:13.540:`** **Speaker 1**: And, you know, we had a client in **`09:18.360:`** **Speaker 1**: So the producer I worked with, Peter, he actually had his client in the suite too. **`09:23.000:`** **Speaker 1**: And one of our suites, we call it I don't know, I in my mind I kind of call it the party suite because it's a big room and I've had, oh **`09:32.000:`** **Speaker 1**: Three or four paying clients in the room at the same time with me. **`09:35.759:`** **Speaker 1**: You know, there's a sofa, there's the producer desk, there's a side computer, a prep station, and the main edit console. **`09:42.399:`** **Speaker 1**: And **`09:45.540:`** **Speaker 1**: It can be a circus. **`09:47.620:`** **Speaker 1**: It can really be a circus. **`09:49.380:`** **Speaker 1**: And you have to you know, being able to cut is really only **`09:54.839:`** **Speaker 1**: half the battle. **`09:55.800:`** **Speaker 1**: You have to be able to know your chops and know what your equipment and your software can do. **`10:02.199:`** **Speaker 1**: And you also have to be able to interpret the noise, and sometimes it is noise. **`10:07.540:`** **Speaker 1**: Coming from behind you, and know the hierarchy of who's actually in control. **`10:13.860:`** **Speaker 1**: And so sometimes **`10:15.720:`** **Speaker 1**: You know, I'll let the client talk and I'll go, mm, yeah, okay. **`10:20.600:`** **Speaker 1**: And then you look at the producer, and they're sitting like maybe **`10:23.820:`** **Speaker 1**: You know, in the back of the room, and they're looking at you, going, Don't listen to them. **`10:29.180:`** **Speaker 1**: Or they'll say, Hey, why don't you guys go get some coffee in the kitchen? **`10:32.860:`** **Speaker 1**: Chris and I have a few things to work on here. **`10:35.100:`** **Speaker 1**: And then we try to decipher. **`10:38.140:`** **Speaker 1**: But it is but quite often, the reason they're there is this thing has to get done today. **`10:46.440:`** **Speaker 1**: And so although in our modern era of being able to, oh, let me just post that on a private Vimeo channel or at Slice, we have our private website, I think I showed you the other night. **`10:57.500:`** **Speaker 1**: That's all password protected and very Gucci and stuff like that. **`11:00.940:`** **Speaker 1**: But and although we can do that, and I've actually been doing that stuff for like fifteen years, I think **`11:06.020:`** **Speaker 1**: it's not always the best way to do it. **`11:08.340:`** **Speaker 1**: And frankly, all of the speed that we gain with our fast tools and nonlinear **`11:15.339:`** **Speaker 1**: toolbox, a lot of times we give up that speed because it's like I make, you know, forty five minutes of changes and then I have to, you know, kick it, compress it, post it, sit around, wait for somebody to watch it. **`11:26.540:`** **Speaker 1**: on their laptop in their cubicle back at Corporate America, Megacorps USA. **`11:31.980:`** **Speaker 1**: And then they go, mm, I don't know if the color's right. **`11:34.779:`** **Speaker 1**: I will, you know, I know the color's right because I know what computer you're looking at it on. **`11:40.040:`** **Speaker 1**: Or it sounds really tinny, really, on your laptop speakers. **`11:43.720:`** **Speaker 1**: Imagine that. **`11:46.600:`** **Speaker 1**: Heard that one. **`11:47.480:`** **Speaker 1**: Yeah, so it's hard because sometimes you really do have to be in the room. **`11:52.320:`** **Speaker 1**: But technology makes it so that it's possible for them to not be in the room. **`11:59.840:`** **Speaker 1**: Wow. **`12:00.320:`** **Speaker 1**: I just talked for three minutes on a simple question. **`12:05.480:`** I have the exact opposite scenario. **`12:07.960:`** I think I've edited once with a client next to me, and he was also more like a friend, so it didn't really feel so much like a client. **`12:15.120:`** But I have a saying all the time that I say, let's not negotiate with ourselves, meaning let's not anticipate so much what we think the client is going to say that we start changing things contrary to what we'd like to do to begin with. **`12:29.800:`** **Speaker 1**: Yeah, you know, and that can be interpreted a lot of ways. **`12:32.920:`** **Speaker 1**: A lot of times that happens even when you're like just negotiating a budget with somebody. **`12:38.600:`** **Speaker 1**: You assume they're going to take the low road, and by that I mean, you know, how is there some way we could do it cheaper? **`12:46.520:`** **Speaker 1**: Well, yeah, how about if I just mail you a camera and you shoot it yourself, you know? **`12:51.080:`** **Speaker 1**: And sometimes we just do that. **`12:52.760:`** **Speaker 1**: We just assume that they're going to take the low road. **`12:55.839:`** **Speaker 1**: And then at the end of the year, we look back at what we've done and we say, How come I didn't get any of those big budget projects? **`13:01.040:`** **Speaker 1**: Because you were giving away the money all the time. **`13:03.680:`** **Speaker 1**: You know? **`13:05.260:`** **Speaker 1**: And I think sometimes you just have to say, okay, there and I'll tell you, this is a great negotiating technique. **`13:12.300:`** **Speaker 1**: And it's something I learned many years ago, probably 20 plus years ago, when I was **`13:18.980:`** **Speaker 1**: I was doing a sales conference, you know, like how to be a better salesperson, you know, a live teleconference thing back before the internet. **`13:27.579:`** **Speaker 1**: And this guy always said or not always on this particular broadcast, he said, when you are building your sales packages to present to a client, always build three. **`13:40.720:`** **Speaker 1**: He called it the triplicate of choice. **`13:43.200:`** **Speaker 1**: And he said, nobody's ever going to go for the cheapest one because they're just going to look like a cheapskate to their boss. **`13:48.560:`** **Speaker 1**: And if it doesn't work, he's like, why didn't you spend more money? **`13:51.220:`** **Speaker 1**: And nobody wants to be, you know, Daddy Warbucks. **`13:54.900:`** **Speaker 1**: So they're not going to go for the high-end one because they're going, why'd you be why were you so extravagant? **`13:59.780:`** **Speaker 1**: So 90% of the time, they're going to go for the middle. **`14:04.760:`** **Speaker 1**: Okay, and so what you do is from a sales standpoint is you build your best margins into your middle budget **`14:12.140:`** **Speaker 1**: And you'll do the best work. **`14:14.300:`** **Speaker 1**: A lot of restaurants will have an insanely expensive dish on the menu, just so the second most expensive thing looks like a bargain. **`14:25.420:`** **Speaker 1**: You know, nobody's going to buy the hundred there's a there's a burger place in Palo Alto, California, you know, like two miles from where all the VC offices are. **`14:38.860:`** **Speaker 1**: That has a $150 burger. **`14:43.100:`** **Speaker 1**: And this is like a diner. **`14:44.460:`** **Speaker 1**: This is like an Arnold's on Happy Days diner. **`14:48.220:`** **Speaker 1**: It has $150 burger. **`14:50.820:`** **Speaker 1**: that comes with a bottle of Dom Perignon. **`14:55.300:`** **Speaker 1**: No comma. **`14:56.340:`** **Speaker 1**: Yeah, exactly. **`14:57.460:`** **Speaker 1**: So um so you do you prefer editing by yourself then? **`15:01.640:`** **Speaker 1**: Or do you wish they were more accessible at times? **`15:05.960:`** Depending on who the client is, I think working collaboratively can yield a better product. **`15:11.720:`** But **`15:12.820:`** Unfortunately, our clients aren't even in the same city that we're in. **`15:18.260:`** So everything is fairly remote. **`15:20.500:`** Right. **`15:22.120:`** **Speaker 1**: Which opens up a lot of possibilities, and that's actually a very good thing. **`15:26.600:`** **Speaker 1**: But yeah, accessibility I mean, I've experimented a lot with using like **`15:30.920:`** **Speaker 1**: Google Plus. **`15:32.519:`** **Speaker 1**: There are ways with a couple of computers and basically the podcasting setup that I have where I can do Google Plus edit sessions with people. **`15:42.260:`** **Speaker 1**: And so if you think about it, you have a webcam that you point at your face, and you put that on one computer. **`15:48.580:`** **Speaker 1**: And then the second computer is your edit system. **`15:51.259:`** **Speaker 1**: And you put your program view view put viewers on second display on the second display. **`15:57.899:`** **Speaker 1**: And then in Google Plus, when you choose your camera input, you can actually choose a display as being your camera. **`16:05.460:`** **Speaker 1**: So it's kind of like sharing your screen in Skype. **`16:08.340:`** **Speaker 1**: So on the second computer, you make the display, your camera, and now you have two people in a hangout, and you then you call your client. **`16:18.480:`** **Speaker 1**: And on the third input, you see their face. **`16:20.560:`** **Speaker 1**: And one of the things that's really important see, one of the things that I really miss about not having people in the room is nonverbal communication. **`16:27.920:`** **Speaker 1**: And there's so many cues that we give off when we're talking to people that are nonverbal that really are **`16:38.660:`** **Speaker 1**: They give us a window into what people really mean, and not just using their words. **`16:44.120:`** **Speaker 1**: Right? **`16:44.839:`** It's the whole Malcolm Gladwell blink, you know, thin slicing. **`16:48.760:`** You can instantly recognize somebody's response to something even if they've given you nothing. **`16:54.420:`** **Speaker 1**: Okay, I don't know this. **`16:55.779:`** **Speaker 1**: Tell me about it. **`16:57.380:`** It's an interest it's basically saying that we are supercomputers that can pick up on so many **`17:05.339:`** Subconscious, nonverbal forms of communication that the idea of a snap judgment really isn't about a snap judgment. **`17:13.500:`** It's about processing all of this minutia **`17:16.400:`** Instantaneously to come up with an idea about whether somebody's dangerous, whether somebody is agreeable to you, or **`17:25.319:`** wants to disagree with you, and it's the it's kind of these he's trying to take intuition and make it more scientific. **`17:34.040:`** **Speaker 1**: Okay, so he's he's trying to quantify something that's very qualitative. **`17:39.480:`** **Speaker 1**: In some regard, yeah. **`17:40.840:`** **Speaker 1**: And he's and he's doing it by analyzing blinks **`17:46.240:`** No, the name of the book is called Blink, because in the blink of an eye, you can assess something without even being able to articulate what specifically you **`17:56.720:`** You're reacting to. **`17:58.080:`** **Speaker 1**: Exactly. **`17:58.640:`** **Speaker 1**: And I think that a lot of that gets lost through emails. **`18:01.600:`** **Speaker 1**: How many times do you sit down to write an email to somebody and you go, oh, okay, so how do I want to say this? **`18:09.019:`** **Speaker 1**: It's that no sarcasm in email because Well, yeah, but but I mean you could spend you could spend twenty minutes writing an email that could get solved in two minutes on the phone. **`18:20.000:`** **Speaker 1**: You know, it's like I'm trying to articulate something that's very complex and sometimes very visual when I could just get on, you know, a Skype call **`18:32.040:`** **Speaker 1**: And show you the screen and point with my mouse. **`18:34.680:`** **Speaker 1**: Do you want to make put this icon here or here? **`18:37.480:`** **Speaker 1**: You notice how it fights with this. **`18:39.080:`** **Speaker 1**: Oh, yeah, that's a good point. **`18:40.360:`** **Speaker 1**: I hadn't thought of that. **`18:41.480:`** **Speaker 1**: Right, because you're not looking at it composited together. **`18:44.060:`** **Speaker 1**: Can we put it on the other side? **`18:46.220:`** **Speaker 1**: Yeah, I think so. **`18:47.100:`** **Speaker 1**: Let me double-check. **`18:47.900:`** **Speaker 1**: Okay, get back to me. **`18:49.340:`** Well, that's what we were discussing: the ability you have with the client in the room, or at least available. **`18:55.240:`** you have the ability to speak persuasively. **`18:57.880:`** You can convince them of what you think is right. **`19:01.480:`** And you can also listen to what they have to say and then possibly reframe your argument based on that. **`19:06.620:`** But when you're in an iterative process just uploading, and then particularly when you get an account person in the middle, it's very difficult to sometimes **`19:16.100:`** Try to show them the light. **`19:18.659:`** **Speaker 1**: Yeah, and I think that when you know, hopefully, you know, Scott Simmons always says, make sure **`19:25.260:`** **Speaker 1**: Make sure you see all your footage. **`19:26.539:`** **Speaker 1**: So, hopefully, if you're being a good editor in Scott's eyes and you have looked at the options and you have seen the pros and cons and why one thing does or doesn't work. **`19:37.380:`** **Speaker 1**: You know, when you put up the piece that doesn't have the over-the-shoulder in it, **`19:44.840:`** **Speaker 1**: And they come back and they go, I went the over-the-shoulder. **`19:47.240:`** **Speaker 1**: And it's like, well, you know what? **`19:48.280:`** **Speaker 1**: The guy who shot it had a big giant bathroom sign in that shot, also. **`19:53.700:`** **Speaker 1**: And it was kind of a prominent feature in the framing, and I don't think you really want that. **`19:59.300:`** **Speaker 1**: If you want, I'll show it to you, but I've already seen it, and it's not good. **`20:03.260:`** **Speaker 1**: And then you get into this issue, and I hate to admit it, but I'm sure that this happens. **`20:09.179:`** **Speaker 1**: And I'm not pointing any fingers. **`20:11.659:`** **Speaker 1**: But there are the people that, when you do challenge them, **`20:18.560:`** **Speaker 1**: They just want to be right anyway. **`20:21.040:`** **Speaker 1**: Nope, this is the way I want it. **`20:23.120:`** **Speaker 1**: Okay. **`20:24.240:`** **Speaker 1**: You know, like wh wh why would you want to do that? **`20:26.720:`** **Speaker 1**: Do you not see that bathroom sign? **`20:29.280:`** **Speaker 1**: It's not attractive. **`20:30.400:`** **Speaker 1**: No, I want that shot. **`20:32.700:`** **Speaker 1**: Okay. **`20:33.260:`** **Speaker 1**: You know, and we're not in, you know, we're not to the level where we're like, you know, I'm going to go into the flame and paint out the bathroom sign or whatever. **`20:39.980:`** **Speaker 1**: So it's like it's there or it's not there, and we don't have that kind of time. **`20:43.440:`** **Speaker 1**: But then it's the people that just want to be right. **`20:47.279:`** **Speaker 1**: And I always say to people, it's like, you know what, I'm going to be the one guy in the room that I am always going to fight for what's on the program monitor. **`20:55.100:`** **Speaker 1**: I don't care about your agenda. **`20:56.940:`** **Speaker 1**: I don't care about your deadline. **`20:58.779:`** **Speaker 1**: I don't care about the budget. **`21:01.260:`** **Speaker 1**: I just have to be the one guy that's going to fight for the program monitor. **`21:05.500:`** **Speaker 1**: And I'm not saying I'm going to win. **`21:07.919:`** **Speaker 1**: But I'm at least going to state the case. **`21:11.600:`** **Speaker 1**: I'm going to be the guy who says, now, hold on, let's take a look at this. **`21:15.300:`** **Speaker 1**: And when they say, nope, there's three other reasons why we can't do that. **`21:18.260:`** **Speaker 1**: It's like, okay, well, I don't know that, and I didn't know that, and frankly, I don't need to know that. **`21:22.660:`** **Speaker 1**: So that's why you're here. **`21:23.940:`** **Speaker 1**: Fine. **`21:24.500:`** **Speaker 1**: I'll drop it. **`21:25.220:`** **Speaker 1**: We'll move on. **`21:26.600:`** **Speaker 1**: But you have to state your case. **`21:28.760:`** **Speaker 1**: Sure. **`21:31.080:`** **Speaker 1**: So anyway, that was a fun conversation that got broken up. **`21:36.120:`** **Speaker 1**: So that **`21:37.600:`** **Speaker 1**: few minutes of chat there. **`21:40.240:`** **Speaker 1**: How long have we and we started at sixteen there. **`21:42.320:`** **Speaker 1**: That fifteen minutes of talk took us about thirty minutes because Skype kept dropping out on us the other night. **`21:48.320:`** **Speaker 1**: That's true. **`21:49.360:`** **Speaker 1**: Thank you, Kim Kardashian. **`21:51.440:`** **Speaker 1**: And then we started talking about some Mac stuff. **`21:54.080:`** **Speaker 1**: You know, I just got these new giant 5K iMacs. **`21:58.519:`** **Speaker 1**: And they're not giant, but they they as a matter of fact, everything on them looks tiny. **`22:03.480:`** **Speaker 1**: I'm experimenting with using the um **`22:07.780:`** **Speaker 1**: Do you have one of the Retina MacBook Pros? **`22:10.340:`** **Speaker 1**: I do. **`22:10.740:`** **Speaker 1**: Yes, so you know in this in the display panels, they don't have resolution anymore. **`22:14.900:`** **Speaker 1**: They just call it small, bigger, best **`22:18.419:`** **Speaker 1**: optina, optimized, whatever. **`22:21.220:`** **Speaker 1**: And so the squinty mode, as I call it, as my friend Steve calls it, um only it's tiny **`22:28.300:`** **Speaker 1**: Everything's tiny. **`22:29.900:`** **Speaker 1**: The little Apple menu looks like a little speck of dust on the screen. **`22:33.900:`** **Speaker 1**: But I'm experimenting with that for a little bit. **`22:36.560:`** **Speaker 1**: And it's you know, it's interesting. **`22:37.920:`** **Speaker 1**: Um I did I cut one piece on it, it seemed to go really good, and then I was out of this suite and uh my boss was working on um doing some troubleshooting on um **`22:49.320:`** **Speaker 1**: It's so frustrating. **`22:50.360:`** **Speaker 1**: We still have this one client that brings in standard deaf DV. **`22:55.480:`** **Speaker 1**: Actually, no, I think it was recorded on like an Atomis or something. **`22:58.840:`** **Speaker 1**: But Standard Def, you know, 720, 480. **`23:02.120:`** **Speaker 1**: like D V codec. **`23:06.040:`** **Speaker 1**: Maybe it was Pro. **`23:07.080:`** **Speaker 1**: I can't remember. **`23:08.440:`** **Speaker 1**: Interlaced. **`23:09.000:`** **Speaker 1**: But it's yes, interlaced and standard def. **`23:11.900:`** **Speaker 1**: Standard def so a standard death full size one to one hundred percent window on these 5k iMacs, it's tiny. **`23:20.520:`** Oh, it's got to look like a postage stamp. **`23:22.200:`** **Speaker 1**: I should take a picture and post it. **`23:24.280:`** **Speaker 1**: Yeah, it's ridiculous. **`23:25.960:`** You know, I just had a thought. **`23:27.160:`** I just had a thought. **`23:27.800:`** You know how everybody, all this film emulation software is kind of, you know. **`23:32.140:`** Everyone's interested in video looking like motion picture film. **`23:36.940:`** At a certain point, will interlaced DV footage become trendy? **`23:43.580:`** **Speaker 1**: Oh, I think it has. **`23:44.700:`** **Speaker 1**: I mean **`23:45.620:`** **Speaker 1**: I know that some of the plug-in manufacturers that produce for FileCut 10 have like **`23:54.360:`** **Speaker 1**: You know, video distortion effects and stuff like that. **`23:58.360:`** **Speaker 1**: That's true. **`23:58.920:`** **Speaker 1**: Those are kind of VCR-ish kind of stuff. **`24:01.400:`** **Speaker 1**: Yeah, but the I don't know. **`24:02.920:`** **Speaker 1**: Kai, really, do we want to make stuff anymore? **`24:05.240:`** I hope not. **`24:06.260:`** There'll be like an Instagram for interlaced D V footage. **`24:13.059:`** **Speaker 1**: A Tumblr account where people can post their best examples of interlaced footage. **`24:17.460:`** **Speaker 1**: Um yeah, no, the the this D V footage was really um **`24:21.120:`** **Speaker 1**: Messed up now. **`24:21.920:`** **Speaker 1**: Do you ever deal? **`24:22.640:`** **Speaker 1**: Do you ever have to deal with other people's footage? **`24:26.000:`** My God, I just had a project. **`24:27.840:`** It was a nightmare. **`24:30.100:`** It was a birthday video for the CEO of our largest client. **`24:36.840:`** And it was footage that was shot from all around the world by all these different people. **`24:40.919:`** **Speaker 1**: Is this the client that has that you might use if you were having french fries? **`24:45.720:`** Yeah, it's a ketchup company. **`24:49.480:`** So it it was a very nice sentiment. **`24:51.640:`** Everybody was trying to send birthday wishes, and it was they were all shot with either webcams, iPhones, iPhones in portrait mode. **`25:02.000:`** chopped at the at the front, chopped at the tail, on factory floors with more noise going on. **`25:09.280:`** You could barely hear anything. **`25:10.720:`** It was **`25:12.000:`** somebody standing in front of a window with the buildings outside and focused and somebody completely underexposed and blurry. **`25:18.159:`** It's like and then it's like make this birthday video. **`25:23.340:`** It was, I didn't even know where to begin, but it, but I did get to use an interesting feature. **`25:29.660:`** Should I bring this back to Final Cut 10? **`25:31.340:`** Absolutely. **`25:32.300:`** Okay. **`25:33.120:`** I di they were a lot of the people were singing Happy Birthday. **`25:38.080:`** So I was able to kind of break up the lines of Happy Birthday into line A, line B, line C, and then make auditions. **`25:47.419:`** For each one of the lines, and then go through and see which ones cut together to sound like an actual song. **`25:55.519:`** **Speaker 1**: um time remap any of them to to match tempo or was tempo is that is is happy birthday tempo pretty much universal across the country? **`26:03.340:`** It was close enough to where it really didn't matter that much. **`26:06.460:`** But that was a good idea doing a little time remapping. **`26:09.020:`** **Speaker 1**: Because if you do, Final Cut 10 will also pitch shift it down to where it that it won't screw with the pitch. **`26:15.140:`** **Speaker 1**: Which is kind of cool. **`26:16.900:`** **Speaker 1**: And actually, with people singing from all over the country, you might want to change the pitch. **`26:22.820:`** There were some pretty funny ones too. **`26:25.720:`** The footage was this was just like a bucket of disaster. **`26:32.040:`** And trying to put all that together and make it some kind of a cohesive piece. **`26:38.500:`** was probably one of the most unenviable projects I've ever had to put on. **`26:44.020:`** **Speaker 1**: Well, the thing about those is you put so much time into it. **`26:47.059:`** **Speaker 1**: In the end, it's like. **`26:49.059:`** **Speaker 1**: You know, it still looks like crap. **`26:51.460:`** **Speaker 1**: But here's the funny thing. **`26:52.580:`** So we went, it was for a big dinner, and we went to the like a board dinner where it was presented. **`26:59.539:`** And we went to the dinner to cover it and shoot. **`27:02.480:`** And everyone loved it. **`27:05.440:`** And nobody saw it as bad footage. **`27:08.560:`** Nobody saw any of the flaws. **`27:10.240:`** All they saw is that. **`27:12.320:`** sentiment and everything that was right with it, and there was parts in there that people found laughs in that I would have never even anticipated because they're kind of inside jokes. **`27:20.960:`** So I guess the lesson to be learned is that the perfection sometimes that we seek **`27:26.720:`** It's not even necessary to communicate effectively for the audience. **`27:31.440:`** **Speaker 1**: Yeah, my friend Gordon used to say, perfection is the enemy of good. **`27:38.580:`** **Speaker 1**: And a lot of times we miss the mark because we're trying to hit something that's so much further down the fairway that probably isn't obtainable. **`27:47.340:`** **Speaker 1**: And you got to pick and choose your battles. **`27:49.100:`** I mean, you can't take something, but it was, what was that that you talked about once? **`27:53.179:`** It wasn't polishing turds, but it was rolling them in glitter. **`27:56.140:`** **Speaker 1**: No, that was Chairman Meow. **`27:58.299:`** **Speaker 1**: That's right. **`27:58.940:`** **Speaker 1**: That was awesome. **`28:00.720:`** **Speaker 1**: But I don't mind rolling them in glitter. **`28:03.680:`** **Speaker 1**: Yeah, you need an accent for that. **`28:05.520:`** **Speaker 1**: Yeah, that was a great interview. **`28:08.800:`** **Speaker 1**: So **`28:10.200:`** **Speaker 1**: Let me think. **`28:11.240:`** **Speaker 1**: You just said something that made me think about oh, it so did you have any interlaced footage? **`28:17.000:`** Um let me think. **`28:20.179:`** I did not. **`28:22.179:`** Did not. **`28:23.460:`** **Speaker 1**: Okay, so I having just dealt with this yesterday, doing this forensic trick, trying to figure out if we could salvage some of this stuff, Final Cut 10. **`28:34.360:`** **Speaker 1**: I'm going to say Final Cut 10 is not intuitive in the way you deal with interlaced footage. **`28:40.920:`** **Speaker 1**: And I want to walk people through something here. **`28:44.220:`** **Speaker 1**: For the 10 of you that still have to run into this. **`28:46.700:`** **Speaker 1**: But it also is a good lesson in user interface interpretation. **`28:51.500:`** **Speaker 1**: Okay? **`28:52.780:`** **Speaker 1**: So, oh shoot, now I don't have a project here. **`28:56.240:`** **Speaker 1**: Did let me see. **`28:57.360:`** **Speaker 1**: Did he delete that? **`29:00.480:`** **Speaker 1**: Hello, hide. **`29:05.140:`** **Speaker 1**: Hmm. **`29:06.260:`** **Speaker 1**: Uh it's you know, it's not available to so in the inspector now I really okay, I'm gonna take a break here. **`29:12.740:`** **Speaker 1**: Give me one second. **`29:16.679:`** **Speaker 1**: I'm going to pause our recording. **`29:18.840:`** **Speaker 1**: Okay. **`29:19.240:`** **Speaker 1**: I will be right back. **`29:20.039:`** **Speaker 1**: Just give me one second. **`29:21.880:`** **Speaker 1**: Hello, hello. **`29:23.080:`** **Speaker 1**: Okay, so what **`29:25.700:`** **Speaker 1**: What I want to do, I want to walk you through this sort of problem that we had the other day, because it's a good lesson in, although I'm sure a lot of people aren't dealing with interlaced footage, it's a good lesson in sort of **`29:38.240:`** **Speaker 1**: deciphering what a user interface is is or is not trying to do. **`29:43.280:`** **Speaker 1**: So there's a project in one of our other suites, and I'm basically just going to duplicate the **`29:50.160:`** **Speaker 1**: the project library because we're using the lean library or trim library technique. **`29:55.280:`** **Speaker 1**: And then that file becomes let me see how big is that. **`29:59.400:`** **Speaker 1**: That file becomes it's like 30 megabytes. **`30:02.120:`** **Speaker 1**: So I'm just going to copy that from the other room onto my desktop, and that shouldn't take very long. **`30:08.419:`** **Speaker 1**: And because that drive is still mounted, if I just click on that thing, it it opens up and it accesses all that media. **`30:16.840:`** **Speaker 1**: So I'm going to pull this over like this. **`30:19.880:`** **Speaker 1**: When you select a piece of media. **`30:23.799:`** **Speaker 1**: So here's what happened **`30:26.220:`** **Speaker 1**: In this edit. **`30:27.419:`** **Speaker 1**: So it's five cameras and a program record, standard death. **`30:33.980:`** **Speaker 1**: It's long form. **`30:35.500:`** **Speaker 1**: It's like one and a half hour long rolls. **`30:38.140:`** **Speaker 1**: It's show records. **`30:40.220:`** **Speaker 1**: And we're producing a DVD for them. **`30:42.840:`** **Speaker 1**: But the D but it's not just a D V D, it is it's also web-based stuff. **`30:48.120:`** **Speaker 1**: So the material has to be treated non-interlaced or deinterlaced rather. **`30:53.060:`** **Speaker 1**: So when you pick a piece of media in your in your bin or your keyword collection over here, and I'm just going to go like here and **`31:05.040:`** **Speaker 1**: And I'm I and by the way, I've started sorting things by date loaded based on uh uh whose comment was that? **`31:13.520:`** **Speaker 1**: Uh **`31:14.360:`** **Speaker 1**: Who's that? **`31:16.440:`** **Speaker 1**: I think you're right. **`31:17.080:`** **Speaker 1**: Yeah. **`31:17.559:`** That was an awesome episode. **`31:19.080:`** **Speaker 1**: Yeah, he was a lot of fun. **`31:20.279:`** **Speaker 1**: So you pick a clip, and then when you go to the inspector under info. **`31:25.620:`** **Speaker 1**: If you go down to the bottom of the inspector and change it from basic to settings, that's where you get access to the deinterlacing functionality. **`31:35.220:`** **Speaker 1**: But here's the part that's weird. **`31:37.220:`** **Speaker 1**: When it says **`31:39.280:`** **Speaker 1**: Field dominance override, I look at that and I'm like, yeah, I want to override the field dominance and I want to set that to progressive. **`31:50.300:`** **Speaker 1**: That's not what they want you to do. **`31:52.540:`** **Speaker 1**: Field dominance override, and I'm going to preface this by saying, I think we have this figured out, and I could be wrong. **`31:59.740:`** **Speaker 1**: But what we found was that field dominance override, we actually wanted to set it to upper or lower, depending on whatever matches the footage that you're setting. **`32:09.980:`** **Speaker 1**: And then you click on the D interlace checkbox. **`32:14.360:`** **Speaker 1**: Because I had been trying to set it to progressive, but it's looking at it going, Yeah, no, that's not progressive, dude. **`32:21.240:`** **Speaker 1**: That's lower that's lower field dominance or whatever. **`32:24.880:`** **Speaker 1**: And so I don't know that I have a recommendation on what I would change that to, but it was very confusing. **`32:35.600:`** **Speaker 1**: And so what we had done is **`32:37.720:`** **Speaker 1**: Somebody had prepped the project, and it's one of these things, like when you're starting on a really big project, I highly recommend that you double-check all your work before you start cutting too fast. **`32:48.179:`** **Speaker 1**: And basically what had happened is there had been a couple of mistakes that had been made. **`32:53.620:`** **Speaker 1**: Um one, all of the footage was not dealt with uh in terms of the deinterlace issue. **`32:59.620:`** **Speaker 1**: And then the other problem was that um **`33:03.500:`** **Speaker 1**: The some of the multicams were made and were accidentally made as 1080 time lines. **`33:14.480:`** **Speaker 1**: Don't know how that happened, but it did. **`33:17.840:`** **Speaker 1**: And so now we have this standard deaf footage being blown up to 1080, and you're trying to de-interlace, and it doesn't matter if you do or not, because it's being blown up so large. **`33:26.720:`** **Speaker 1**: But essentially what you do, if you go back to the original instances of those bits of media in your file browser and you treat them there **`33:38.980:`** **Speaker 1**: they will be good next time you put them into a time line. **`33:42.580:`** **Speaker 1**: But our problem is that we had already made multicams of them, and then we had started cutting them in the timeline. **`33:49.780:`** **Speaker 1**: So what we found to be the trick was double click on the Multicam clip in the browser. **`33:55.220:`** **Speaker 1**: It now opens up the Multicam Editor. **`33:58.320:`** **Speaker 1**: And then what we did is we went through and clip by clip made sure that everything was deinterlaced and looked the way we wanted it to look. **`34:06.080:`** **Speaker 1**: And at that point, **`34:07.640:`** **Speaker 1**: those iterations flowed into the timelines that were already that had already been begun. **`34:14.520:`** **Speaker 1**: See what I'm saying? **`34:15.240:`** **Speaker 1**: So it's like, yes, I'm using **`34:17.820:`** **Speaker 1**: Bad materials, but I'm going to fix the source of the material and it will, you know, repopulate and actually look good. **`34:25.540:`** **Speaker 1**: So it was a little dicey because we'd already put a couple days into this. **`34:29.140:`** **Speaker 1**: It's like, I don't want to have to lose that work. **`34:34.020:`** **Speaker 1**: And it actually turned out good. **`34:35.780:`** **Speaker 1**: So now I have taught everybody how to deal with interlace footage and who's cutting it who's cutting the D V anymore. **`34:42.659:`** **Speaker 1**: Hopefully, nobody. **`34:43.700:`** **Speaker 1**: Yeah, I know. **`34:44.419:`** **Speaker 1**: So I apologize. **`34:45.460:`** **Speaker 1**: But it is interesting to take a look at. **`34:48.840:`** **Speaker 1**: Some of that stuff, because there's other flags in that window where you can tell something. **`34:54.440:`** **Speaker 1**: Like if it like if Final Cut doesn't recognize that it's an anamorphic **`34:58.240:`** **Speaker 1**: piece of media that needs to be stretched out, you can actually bump it there and make sure that it does indeed recognize that it's anamorphic. **`35:06.880:`** **Speaker 1**: But I will say that by and large, Funka 10 is much better at recognizing footage **`35:12.120:`** **Speaker 1**: than um than seven ever was, I think. **`35:16.280:`** **Speaker 1**: Um so there's that. **`35:18.600:`** **Speaker 1**: And then we got into just General Mac stuff. **`35:21.080:`** **Speaker 1**: We were um I um **`35:24.700:`** **Speaker 1**: I was mentioning to you this utility that I found called XtraFinder. **`35:30.940:`** **Speaker 1**: I should jot that down somewhere so I put it in the show notes. **`35:34.140:`** **Speaker 1**: But XtraFinder solved a problem that we were both looking for. **`35:38.520:`** **Speaker 1**: And that was, you know, Apple, can I have my label colors back the way they used to be? **`35:47.039:`** **Speaker 1**: And that's something that y uh you you said you were looking for too, yes? **`35:50.960:`** **Speaker 1**: I was, yeah. **`35:52.319:`** **Speaker 1**: So what how do you use the or how did you use the labels pre-Yosemite? **`35:58.319:`** I didn't use them for um **`36:00.900:`** Necessarily bringing in metadata to Final Cut. **`36:03.220:`** I'm not there quite yet, but I was using them just to identify things more quickly and job folders that have tons of folders in them. **`36:12.859:`** And then when that went away, those little dots became fairly useless. **`36:16.779:`** **Speaker 1**: Yeah, they didn't really have the visual impact and jump out. **`36:20.059:`** **Speaker 1**: You kind of jumped the gun about talking about how **`36:24.100:`** **Speaker 1**: And it's a very interesting transition. **`36:26.420:`** **Speaker 1**: So Final Cut Now for three years has had the concept of the metadata and tagging things or keywording things. **`36:34.420:`** **Speaker 1**: And the key thing that's hard for non-Final Cut users to kind of wrap their head around is that you can indeed **`36:43.700:`** **Speaker 1**: Keyword something into multiple keyword collections, or some of us still like, and myself included, still like to think of them as bins. **`36:51.460:`** **Speaker 1**: It's not a bin, it is a search criteria for all of your media. **`36:57.440:`** **Speaker 1**: And so it's looking for anything that has been keyworded, you know, card A or you know, camera B one or something like that. **`37:05.740:`** **Speaker 1**: But so Apple has brought that concept of being able to tag something with multiple tags to the finder. **`37:13.820:`** **Speaker 1**: And that's why, if you've ever done it, try tagging something in the finder with the red tag or label and then the orange one, and you'll actually get two little dots right next to each other. **`37:25.299:`** **Speaker 1**: And again, on the uh on the 5k iMac, they're so small you almost don't see them. **`37:33.299:`** **Speaker 1**: But like you, I miss the the label ability, which is different than tagging. **`37:38.579:`** **Speaker 1**: I miss the label ability that w we used to have in the Finder. **`37:42.900:`** **Speaker 1**: An extra Finder brings that back. **`37:45.539:`** **Speaker 1**: So, um **`37:49.640:`** **Speaker 1**: Did you end up installing it? **`37:51.400:`** I did. **`37:53.720:`** And I was very happy to have my colors back. **`37:55.800:`** And there was also some interesting features in there as well with **`38:00.000:`** multiple windows opening up at the same time. **`38:02.960:`** **Speaker 1**: Yes, I haven't gotten into using that. **`38:05.840:`** **Speaker 1**: When you launch it, and so you'll download it and then you have to launch it, and then once you launch it, it will always launch when you start your machine. **`38:14.120:`** **Speaker 1**: But underneath uh where is it? **`38:18.040:`** **Speaker 1**: Appearance, there's a checkbox for legacy label color painting **`38:23.240:`** **Speaker 1**: And essentially, it turns that dot into it basically highlights the whole name. **`38:28.360:`** **Speaker 1**: And you can also enable it for stuff on the desktop if you want to. **`38:32.580:`** **Speaker 1**: And so that's probably like the kind of go-to feature. **`38:36.980:`** **Speaker 1**: But there's tons of features in this little utility. **`38:39.620:`** **Speaker 1**: And then the other one is at the bottom of the features tab that I like is that it will **`38:46.700:`** **Speaker 1**: Calculate the size of everything that you have selected in a finder window. **`38:53.580:`** **Speaker 1**: So, like, let's say you're trying to copy stuff off to **`38:56.540:`** **Speaker 1**: You know, a thumb drive or a hard drive or some piece of removable media that you have to transfer to somebody **`39:04.520:`** **Speaker 1**: You can go, oh, can I get one more folder or not? **`39:07.240:`** **Speaker 1**: Because it's calculating as long as you have the what's it called? **`39:12.839:`** **Speaker 1**: View **`39:16.660:`** **Speaker 1**: status bar, I believe it's called in the finder. **`39:19.540:`** **Speaker 1**: So as long as you have the status bar um highlighted, it will actually calculate everything that it's doing. **`39:24.740:`** **Speaker 1**: And again, this thing this little extra finder thing does a jillion other things. **`39:29.740:`** **Speaker 1**: And then we get to the concept of the fact that Final Cut can actually read finder tags. **`39:39.599:`** **Speaker 1**: And I haven't gotten into fully utilizing it, but it's one of those things where you see a tool and you're like, hmm. **`39:51.320:`** **Speaker 1**: I might be able to use that. **`39:54.440:`** **Speaker 1**: And it's good to kind of squirrel that away. **`39:56.280:`** **Speaker 1**: It's like, how would I use that? **`39:58.620:`** **Speaker 1**: And there's a lot you could do. **`40:01.180:`** **Speaker 1**: I mean, a producer on the road could be pre-quote unquote tagging his stuff. **`40:09.100:`** **Speaker 1**: As he's reviewing it on the plane on the way back, he could be tagging all the interviews one color, or all the B-roll another color, or **`40:18.320:`** **Speaker 1**: There's a million ways that he can be sorting that. **`40:21.120:`** **Speaker 1**: And when I once I import that media, those tags actually show up as keyword collections. **`40:27.920:`** **Speaker 1**: And you may have noticed it already. **`40:30.320:`** **Speaker 1**: If you accidentally imported or **`40:32.440:`** **Speaker 1**: you know, dragged a piece of media in that had been tagged tagged or highlighted for some other reason, all of a sudden you have this spare keyword collection in your project. **`40:42.540:`** **Speaker 1**: It says red. **`40:43.500:`** **Speaker 1**: It's like, why does it say red? **`40:45.500:`** **Speaker 1**: And then there's also a whole um tag editor in the finder uh in the uh the finder window. **`40:53.420:`** **Speaker 1**: It's a little little tag, and if you haven't clicked on it **`40:57.040:`** **Speaker 1**: I think you have to have something highlighted in your window, but then you can click on that and you can either tag it or you can create new tags as well. **`41:06.720:`** Folder structure is going away one feature at a time. **`41:10.480:`** **Speaker 1**: You've heard me talk about that, haven't you? **`41:12.000:`** **Speaker 1**: I have, yeah. **`41:12.960:`** **Speaker 1**: Do you agree? **`41:17.200:`** I don't know. **`41:18.319:`** I think that it's I think they're going to probably have it both ways for a long time. **`41:26.480:`** I don't see the folders going away that soon. **`41:29.120:`** **Speaker 1**: But it is interesting when you start looking at the evidence, you start realizing, yeah, they're on a path here. **`41:37.520:`** Do you think that they're probably going to make it so as people that don't have Macs per se, but they just maybe have iPads and they move to a Mac, they can put it in an IOS mode? **`41:50.320:`** You can have a dual system. **`41:52.400:`** **Speaker 1**: I'm sorry, you can make your Mac put your Mac in an IOS mode? **`41:55.680:`** In an IOS mode, like yeah. **`41:57.760:`** **Speaker 1**: I mean, you can well, from a v purely application launching standpoint, they already have that with **`42:04.619:`** **Speaker 1**: what's it called? **`42:05.180:`** **Speaker 1**: Launchpad? **`42:08.539:`** Yeah, it's launch pad. **`42:09.819:`** **Speaker 1**: Yeah, so all of a sudden my Mac just turned into an iPad. **`42:13.400:`** **Speaker 1**: Which I'm not particularly fond of. **`42:16.280:`** **Speaker 1**: Does anyone use that? **`42:17.720:`** **Speaker 1**: I don't know. **`42:19.160:`** **Speaker 1**: That's a good question. **`42:20.200:`** **Speaker 1**: Does d tweet me. **`42:21.940:`** **Speaker 1**: Does anybody actually use LaunchPad on their Mac? **`42:24.740:`** **Speaker 1**: Or do they just feel like a child? **`42:28.180:`** **Speaker 1**: Yeah, I'm not a fan of it. **`42:29.700:`** **Speaker 1**: I don't. **`42:31.020:`** **Speaker 1**: I don't get it. **`42:31.900:`** **Speaker 1**: That's one of the things. **`42:33.740:`** **Speaker 1**: That was one of the red flags when I started to realize the Finder may be going away one day. **`42:42.339:`** **Speaker 1**: The other is the ridiculous All My Files essentially keyword collection, which appears by default in the Finder sidebar. **`42:53.940:`** **Speaker 1**: And I can't I I have no there's not a part of me that wants to ever press that or use that. **`43:01.460:`** **Speaker 1**: I drag that out and disable it right away on every system. **`43:06.460:`** **Speaker 1**: The other one, what's the other little tidbit? **`43:13.660:`** **Speaker 1**: Launchpad, that, all my files. **`43:18.700:`** **Speaker 1**: Yes, I just see little bits going away, and I think that there's a huge advantage to Apple having one operating system. **`43:31.620:`** **Speaker 1**: And if iOS either gets smarter, but it looks like they're the the intention is to make computers **`43:40.740:`** **Speaker 1**: Less daunting. **`43:42.740:`** **Speaker 1**: I actually like a little daunt in my computer. **`43:48.180:`** **Speaker 1**: I just see it as being functional. **`43:51.279:`** **Speaker 1**: But yeah, if you don't know how to store your stuff, you talk to people all the time. **`43:56.000:`** **Speaker 1**: How many people have their mother calling them, I can't find my letter, I can't find my thing? **`44:00.880:`** **Speaker 1**: And I just want to go on the record saying that my mom is actually very good with her computer. **`44:04.799:`** **Speaker 1**: So hi, Mom. **`44:06.000:`** Do you think that um **`44:08.160:`** You know, the same people that go, you don't really drive unless you drive stick. **`44:11.200:`** You know, you don't really know how to use a computer unless you know how to use folder structure. **`44:14.880:`** Is that going to be a **`44:16.860:`** **Speaker 1**: Um, maybe. **`44:19.340:`** I'm trying to think of the cranky old man stuff that's gonna that I'm gonna be saying in about 20 years. **`44:23.580:`** **Speaker 1**: I remember where we used to have folders. **`44:27.900:`** **Speaker 1**: Damn it, these new Pangle computers. **`44:31.240:`** **Speaker 1**: Yeah, you you'll be like John C. **`44:32.840:`** **Speaker 1**: Dvorak saying the mouse will never ti catch on. **`44:36.120:`** **Speaker 1**: Um, do you know that story? **`44:37.960:`** **Speaker 1**: Do you know who John Dvorak is? **`44:39.540:`** **Speaker 1**: I do. **`44:40.180:`** **Speaker 1**: Okay. **`44:41.620:`** **Speaker 1**: Yeah, this stupid mouse, that'll never catch on. **`44:45.700:`** As he said that, holding it up to the screen. **`44:49.980:`** You know about that, right? **`44:53.420:`** When they first debuted the mouse, people were taking it and pressing it against the CRT. **`44:57.740:`** **Speaker 1**: Yeah, or Scotty in Star Trek tried to use it as a microphone. **`45:03.079:`** **Speaker 1**: Computer Siri, where's the nearest pizza hut? **`45:08.279:`** **Speaker 1**: Oh, that works now. **`45:10.140:`** Speaking of Siri, I got followed by the voice of Siri last week on Twitter. **`45:16.140:`** Yeah, she's a voiceover artist and it was she followed me from something and it says voice of Siri. **`45:22.500:`** **Speaker 1**: Is it do you do we think it's really that person? **`45:25.860:`** **Speaker 1**: I would imagine. **`45:26.500:`** Oh, it definitely is because I saw a piece on who that was. **`45:32.400:`** **Speaker 1**: Very interesting. **`45:33.360:`** **Speaker 1**: I wonder how she found you. **`45:36.800:`** I probably was subscribing to a bunch of other sites and she was I popped up somehow. **`45:44.260:`** I don't think it was from my prolific tweeting. **`45:49.060:`** But if you're interested in having Siri doing a voiceover, you can have her. **`45:54.000:`** **Speaker 1**: I would imagine that, that would not be something that Apple would be fond of. **`45:59.440:`** Well, that's an interesting distinction. **`46:01.040:`** You think about it. **`46:01.760:`** There's an intonation to her voice that she probably no longer has the ability to use. **`46:08.660:`** **Speaker 1**: Gosh, that's interesting. **`46:10.340:`** **Speaker 1**: You know, I I had this discussion probably on the show once about what is the moral or not moral, but what is the legal implication **`46:22.280:`** **Speaker 1**: Of hiring somebody who's a soundalike to do a VO **`46:30.980:`** **Speaker 1**: one of our clients wanted like, you know, James Earl Jones or whatever. **`46:35.540:`** **Speaker 1**: And I was like, you can't afford him. **`46:37.060:`** **Speaker 1**: Shut up. **`46:38.580:`** **Speaker 1**: Well, can't we check into it? **`46:40.180:`** **Speaker 1**: And and I w and and there was somebody that we contacted and I think it was **`46:44.840:`** **Speaker 1**: It was Morgan Freeman. **`46:46.680:`** **Speaker 1**: And he wouldn't even take our calls. **`46:48.120:`** **Speaker 1**: His people wouldn't no, he's not interested. **`46:50.600:`** **Speaker 1**: Well, could we talk? **`46:51.640:`** **Speaker 1**: No. **`46:52.520:`** **Speaker 1**: Can we pitch? **`46:53.320:`** **Speaker 1**: No. **`46:54.260:`** **Speaker 1**: Okay. **`46:56.260:`** **Speaker 1**: Just didn't even want to take the call. **`46:58.099:`** **Speaker 1**: So then you go and I think the client actually brought it up. **`47:02.180:`** **Speaker 1**: Can we find a Morgan Freeman sound alike? **`47:05.900:`** **Speaker 1**: I was like, that's a really good question. **`47:07.900:`** **Speaker 1**: I mean, yes, you probably could, but do you want to do that? **`47:11.660:`** **Speaker 1**: I mean, if you just talk and sound like Morgan Freeman and never say, hi, I'm Morgan Freeman. **`47:19.260:`** **Speaker 1**: You know, what is the implication of that legally? **`47:25.820:`** I got an idea. **`47:27.180:`** Somebody should get a Johnny Ive soundalike for some Microsoft service ads. **`47:33.359:`** **Speaker 1**: Well, I thought, okay, a couple of things. **`47:36.319:`** **Speaker 1**: Number one, I thought it was very interesting in the iPhone 6 rollout videos, there was no headshots. **`47:44.640:`** **Speaker 1**: There was a shot of white limbo and a place for a lower third and the lower third, but it was like, yeah, you know what, Johnny, just don't sit in front of the camera. **`47:54.000:`** **Speaker 1**: Like, like, there was a place for his head. **`47:57.280:`** **Speaker 1**: But they didn't actually put them on camera. **`48:00.000:`** **Speaker 1**: I thought that was really interesting. **`48:01.600:`** **Speaker 1**: And I don't know that was a a clear evolution in Apple product videos where they took all the celebrity, you know, **`48:10.120:`** **Speaker 1**: you know, contributors, if you will. **`48:11.640:`** **Speaker 1**: And I'm not talking about real celebrities, I'm talking about tech celebrities because Johnny Ives, he's a rock star, let's face it. **`48:17.960:`** **Speaker 1**: And they didn't put him in the video. **`48:20.920:`** **Speaker 1**: And I wondered I wondered if it may have been a response to the Ikea commercial. **`48:29.680:`** **Speaker 1**: Do you know which one I'm talking about? **`48:32.560:`** I haven't seen the IKEA commercial, but I have seen a number of parodies. **`48:37.720:`** Of the Apple stuff with Johnny Ivan. **`48:39.960:`** **Speaker 1**: Okay, well the IKEA one is brilliant. **`48:42.200:`** **Speaker 1**: Let me actually, you know what? **`48:43.320:`** **Speaker 1**: I'm going to do this because I have technology **`48:49.520:`** **Speaker 1**: And so I just want you to imagine that it is that it looks exactly like an Apple commercial. **`48:59.660:`** **Speaker 1**: And here's what it sounds like. **`49:01.579:`** Once in a while, something comes along that changes the way we live. **`49:06.220:`** A device so simple and intuitive. **`49:08.820:`** Using it feels almost familiar. **`49:16.580:`** Introducing the 2015 Kia catalogue. **`49:20.500:`** It's not a digital book or an e-book. **`49:23.980:`** It's a bookbook. **`49:26.220:`** **Speaker 1**: It's a bookbook. **`49:27.420:`** The first thing to note. **`49:28.860:`** **Speaker 1**: So, and it starts with the guy on white limbo, and he's wearing a gray v-neck t-shirt, just like Johnny. **`49:35.660:`** **Speaker 1**: And he's got this like. **`49:37.580:`** **Speaker 1**: Smirky grin, like, this is going to be really funny, and he's giving his lines. **`49:42.140:`** **Speaker 1**: And then they and then they go through and they start explaining all the features here. **`49:45.660:`** Is no cables, not even a power cable. **`49:48.860:`** 2015 IKEA catalog comes fully charged and the battery life **`49:53.620:`** is eternal. **`49:54.820:`** The interface is 7. **`49:56.420:`** 5 by 8 inches, but can expand to 15 by 8 inches. **`50:01.140:`** **Speaker 1**: And they're opening the book book at that point. **`50:03.240:`** **Speaker 1**: Anyway, you should really watch it. **`50:04.520:`** **Speaker 1**: It's totally worth seeing and ridiculous. **`50:07.400:`** **Speaker 1**: And it's got 13 million views. **`50:09.320:`** **Speaker 1**: So how's that for advertising? **`50:12.520:`** You know, I can't believe I haven't seen it yet. **`50:14.920:`** **Speaker 1**: Yeah, it's a good one. **`50:17.480:`** **Speaker 1**: A client actually showed it to me. **`50:18.840:`** **Speaker 1**: She goes, You haven't seen it? **`50:19.960:`** **Speaker 1**: Look at this. **`50:20.360:`** **Speaker 1**: I'm like, ah, it's funny. **`50:25.420:`** **Speaker 1**: So there's that. **`50:26.539:`** **Speaker 1**: I have no idea what we were going to talk about next. **`50:29.099:`** **Speaker 1**: Extra Finder, IKEA bookbook. **`50:31.660:`** **Speaker 1**: I may have even mentioned that on the show before. **`50:33.579:`** **Speaker 1**: I can't remember. **`50:36.079:`** I actually prepared to talk to you. **`50:37.920:`** **Speaker 1**: I went and I can't find the email that you sent me. **`50:42.000:`** I went through my Final Cut 10 wish list for Christmas. **`50:47.120:`** All right, I want to hear. **`50:48.800:`** Because I thought the last time I really I didn't for some reason I forgot a lot of the things that I wanted. **`50:56.180:`** **Speaker 1**: Let's hear it then. **`50:57.860:`** Let's see. **`50:58.740:`** Okay, go down the list. **`51:00.020:`** Audition length said the ability to control whether auditions of different lengths expand or get clipped when cycling through the audition clips. **`51:09.320:`** meaning that if I'm cutting to music, I want the length to stay the same because I'm auditioning different pieces of B roll that have no length issues. **`51:18.120:`** Or if I'm editing narrative, I want the length of the take to be **`51:23.900:`** to change based on the delivery. **`51:26.220:`** **Speaker 1**: Yes, I mean, there's already a replace with, which will keep something the same length. **`51:34.380:`** **Speaker 1**: So why can't I replace audition with, or add to audition with current duration or something like that? **`51:41.900:`** Yeah, when I go through the audition, it just keeps moving, bubbling my timeline out. **`51:47.120:`** **Speaker 1**: Totally agree. **`51:49.520:`** **Speaker 1**: I completely concur. **`51:51.200:`** **Speaker 1**: One of my little timeline kung fu tricks that I'll do is I'll take the new clip and I'll put it on top of the audition. **`52:00.060:`** **Speaker 1**: You know, above it. **`52:03.180:`** **Speaker 1**: I'll trim the new clip to match the audition length with snapping. **`52:07.420:`** **Speaker 1**: I'll then match frame back into the bin because you can only add to an audition from a bin, which is ridiculous or frustrating. **`52:15.440:`** **Speaker 1**: depending on your point of view. **`52:17.680:`** **Speaker 1**: And then and then I drag it from the the uh the keyword collection back down in and actually add it to the audition. **`52:25.500:`** That's a good trick. **`52:27.340:`** **Speaker 1**: Again, that's one of those little timeline kung fu things. **`52:30.700:`** **Speaker 1**: That's good. **`52:31.100:`** **Speaker 1**: I'm glad I'm glad I mentioned this. **`52:33.020:`** **Speaker 1**: And yes. **`52:35.300:`** **Speaker 1**: Scott, it is w a workaround. **`52:38.900:`** **Speaker 1**: Okay, what's your next what's your next one? **`52:41.140:`** Transitions and **`52:42.260:`** Final Cut 7, you had the ability to place a transition at the end of clip A or the beginning of clip B or between both clips A and B. **`52:51.220:`** And Final Cut 10 is a little funkier than that. **`52:54.660:`** You don't have the same control. **`52:56.020:`** It's always trying to blend two clips together. **`52:59.960:`** You can cheat it, I found, by doing secondary storylines, but you still have the length of the transition doubling double from what it actually is doing. **`53:11.800:`** The first part of it is just **`53:13.640:`** Irrelevant. **`53:14.920:`** **Speaker 1**: Okay, so I have an idea of how I would deal or when this would be a problem to me. **`53:21.079:`** **Speaker 1**: Explain a little bit deeper where this **`53:23.880:`** **Speaker 1**: manifest itself for you? **`53:25.400:`** All right. **`53:25.720:`** So I'm in the primary storyline, and I have two clips butting up against each other. **`53:30.200:`** And I want to fade one out, fade the first clip out and then pop back in with the second one. **`53:36.680:`** And **`53:38.339:`** And you can go into the controls with opacity, all that, but the actual transition, I can't get it to just be on one clip and not the other. **`53:48.500:`** **Speaker 1**: Yeah, I get it. **`53:49.380:`** **Speaker 1**: Yeah. **`53:51.240:`** **Speaker 1**: The workaround would like you said is to take that second clip and pop it up into a um a secondary storyline. **`53:59.480:`** **Speaker 1**: And and by doing it as a command option up arrow **`54:02.440:`** **Speaker 1**: it will automatically leave a slug, so you don't screw up your stuff downstream. **`54:06.599:`** And then you bring it back down and it doesn't rejoin? **`54:09.079:`** **Speaker 1**: Oh, no, it'll rejoin. **`54:11.560:`** **Speaker 1**: Well, that's yeah, no. **`54:14.040:`** **Speaker 1**: You're going to have a solitary clip sitting up there after the fade to the um the the blank slug. **`54:22.339:`** **Speaker 1**: Yeah, that's interesting. **`54:23.940:`** **Speaker 1**: Okay, I got you. **`54:25.140:`** **Speaker 1**: Now I'll say another thing in regard to durations and TRTs. **`54:28.980:`** **Speaker 1**: Here's one of my pet peeves. **`54:32.340:`** **Speaker 1**: I take, let's say, four stills, I drop them in a timeline, select all, Command T, and now I've dissolved between them and actually at the beginning and end of them too. **`54:44.000:`** **Speaker 1**: And let's say, and by default, those clips started at 10 seconds. **`54:47.440:`** **Speaker 1**: Now, when you do this, I'm pretty sure, and I quit Final Cut, so I'm not going to bother launching it again. **`54:55.720:`** **Speaker 1**: But when you select that clip now, it reads off I believe it reads off its TRT now. **`55:04.460:`** **Speaker 1**: Including its handles that dissolve into the next clip. **`55:08.460:`** **Speaker 1**: And so it gets very confusing when you're trying to **`55:13.400:`** **Speaker 1**: adjust a series of stills to a specific duration that now have dissolves because the dissolve is considered part of the **`55:22.940:`** **Speaker 1**: The duration, and it's like, I don't even know what I'm doing. **`55:25.980:`** **Speaker 1**: And so, why I end up just having to do it very visually, and I can't **`55:31.380:`** **Speaker 1**: Am I making sense here? **`55:32.740:`** **Speaker 1**: Totally. **`55:33.300:`** **Speaker 1**: Yeah, like so the TRT is affected by the length of the transition, which kind of makes sense. **`55:40.520:`** **Speaker 1**: on occasion. **`55:42.039:`** **Speaker 1**: And then the other thing that I have not figured out how to do is let's say I have clip A ten seconds, clip B ten seconds, dissolve between A and B, and I now want to trim **`55:54.460:`** **Speaker 1**: Clip A out another two seconds. **`56:00.220:`** **Speaker 1**: So it's twelve a dissolve and ten. **`56:05.360:`** **Speaker 1**: I do not have an elegant way of doing that. **`56:09.440:`** Does that make sense? **`56:10.240:`** **Speaker 1**: Because the dissolve is already there. **`56:11.600:`** **Speaker 1**: That means I can't grab. **`56:14.160:`** **Speaker 1**: The leading edge of or no, excuse me, the trailing edge of the previous clip, clip A, and stretch it out. **`56:22.560:`** **Speaker 1**: So, what I have to do, timeline kung fu, Control D. **`56:26.960:`** **Speaker 1**: Uh what does control D do for me? **`56:29.839:`** **Speaker 1**: Set the duration. **`56:32.640:`** **Speaker 1**: Oh, look at you, Mr. **`56:34.079:`** **Speaker 1**: Fancy Pants. **`56:35.039:`** **Speaker 1**: Yes, that would work. **`56:36.720:`** **Speaker 1**: and it will push everything downstream down and it will keep the the transition intact. **`56:45.520:`** **Speaker 1**: But if you don't ha if you don't know the duration that you want it to be, which would be hard, **`56:53.800:`** **Speaker 1**: What I'll do is I'll just remove the transition, fix it, and then put it back. **`56:58.200:`** **Speaker 1**: However, if you're trying to go **`57:01.040:`** **Speaker 1**: Shorter than the initial inst the initially dropped still. **`57:06.000:`** **Speaker 1**: At that point, it's really easy because then I can just do, I believe, option **`57:10.420:`** **Speaker 1**: Right bracket, and it will just tail that clip and pull everything back, including the dissolve point. **`57:19.760:`** **Speaker 1**: To marry up to the clip at the new duration. **`57:24.000:`** **Speaker 1**: So making things a little longer and then shortening them is much easier than trimming them out a little bit. **`57:28.820:`** I think overall some better control over transitions would uh be helpful. **`57:34.980:`** **Speaker 1**: Okay, hold on. **`57:36.440:`** **Speaker 1**: Now I'm launching Final Cut. **`57:38.119:`** **Speaker 1**: So give me an example of what more control over a transition you'd like to have. **`57:43.079:`** Well, just like I was saying, like in 7 you could take the transition, you can drag it on the end of one clip or the beginning of another or **`57:51.220:`** transitioning between the two. **`57:54.900:`** Whereas that doesn't seem apparent how to do that in ten. **`58:01.360:`** **Speaker 1**: I will say this, one of the things that amazed me one day, I've got to zoom way in on this timeline to see that transition. **`58:19.260:`** **Speaker 1**: Okay, I believe so let's let's not forget about the precision editor. **`58:27.120:`** **Speaker 1**: So if you control click or no, you just have to right click on the transition and you can open up the precision editor. **`58:34.000:`** **Speaker 1**: So there's a lot to be said about how you can finesse a transition in there, but that's not what you're talking about. **`58:39.760:`** **Speaker 1**: You actually want to **`58:41.120:`** **Speaker 1**: Have it dissolve to the midpoint quicker and then dissolve out slower. **`58:45.280:`** Do you remember in seven when you right-click on a transition, you can essentially kick it left, kick it right, or keep it in between? **`58:51.520:`** Just that. **`58:52.400:`** If I could have that, I'd be happy. **`58:54.320:`** **Speaker 1**: Now, however, have you ever noticed in the inspector of the transition the look pull down? **`59:01.120:`** **Speaker 1**: I just noticed that **`59:02.900:`** Recently, and I was playing around with it, and I really liked that. **`59:06.580:`** I was able to make some things which felt a little you know how sometimes things blend together in a real videoy kind of way? **`59:15.279:`** Finding some of the different ways to dissolve clips together was actually great. **`59:19.839:`** **Speaker 1**: Okay, so again, if you select a transition, a cross-dissolve in your timeline. **`59:25.539:`** **Speaker 1**: and go over to the inspector for the transition. **`59:29.059:`** **Speaker 1**: You're going to see a film dissolve, a bright dissolve, a dark dissolve, a cold dissolve, a warm dissolve, a sharp diss **`59:35.940:`** **Speaker 1**: of a dull dissolve, an adaptive dissolve **`59:39.920:`** **Speaker 1**: Subtractive, highlights, shadows, and the default the video dissolve. **`59:48.500:`** **Speaker 1**: And then there's also controls there, by the way, for the audio crossfade that is happening with your video dissolve. **`59:58.320:`** Okay, so I guess there is control, just not exactly the control that I'm looking for. **Speaker 1**: I agree. *01:00:03.760* **Speaker 1**: I think being able to adjust the weight of the dissolve one side or the other *01:00:04.320* **Speaker 1**: I can remember many years ago, you know, you were joking the other day, let's talk about some old Grass Valley stories. *01:00:08.760* **Speaker 1**: I got called in *01:00:15.000* **Speaker 1**: I can't remember where I was in the station. *01:00:17.560* **Speaker 1**: I was doing something else. *01:00:19.480* **Speaker 1**: And one of the editors, who at the time at the time, they had to route decks through the control room if they wanted to dissolve between two tape decks. *01:00:20.360* **Speaker 1**: Crazy that this was a real history in ourselves technologically. *01:00:32.119* **Speaker 1**: And she goes, Can you come and do this dissolve for me? *01:00:37.720* **Speaker 1**: And she's like, I'm like, why me? *01:00:39.960* **Speaker 1**: She goes, because you have that really fluid *01:00:42.039* **Speaker 1**: Feel to the dissolve. *01:00:45.460* **Speaker 1**: And I was doing a lot of live television at the time, but I was like, really? *01:00:48.260* **Speaker 1**: You're asking me to come and pull the fader bar back? *01:00:51.539* **Speaker 1**: Okay, it's awesome. *01:00:55.400* **Speaker 1**: It's like it was the strangest request. *01:00:58.600* **Speaker 1**: It's like, yeah, okay. *01:01:02.400* **Speaker 1**: All right, so transitions. *01:01:03.680* **Speaker 1**: What else? *01:01:04.880* I got another. *01:01:05.839* I got a few more. *01:01:06.400* I want a review in log window layout similar to the import window. *01:01:07.839* When you're reviewing footage, it's kind of like *01:01:13.359* right in the middle, center of the screen, you have a the what do you call that? *01:01:16.059* The film strip of the clip, and it's just kind of like focused front and center. *01:01:21.980* So when you're reviewing footage and you're keywording and you are *01:01:27.020* Going through, it's a little more center focused, whereas now I kind of feel like it's almost messes with my posture, like focusing my attention to this one window in the upper left. *01:01:31.400* Is that niggly? *01:01:42.780* **Speaker 1**: That's maybe a little niggly. *01:01:44.300* **Speaker 1**: It's an inter so when would would it just be a mode, command, shift, alt? *01:01:45.980* **Speaker 1**: You know, eight, and it would go into that mode? *01:01:51.900* Yeah, maybe. *01:01:54.540* Like, and it ties into the next one that I want: I want to be able to skim. *01:01:56.380* Over the viewer window and have it represent the length of the clip. *01:02:00.820* So if I want to do a R and take a range out of it *01:02:05.860* within that feature, it would be great, almost like a mode for just viewing and keywording and selecting footage before you're even thinking about putting it in the timeline. *01:02:11.420* **Speaker 1**: Okay, I'm not following. *01:02:22.540* **Speaker 1**: So I get the review and log window, which may be just a posture fixer. *01:02:24.300* **Speaker 1**: So explain again the skimming over the entire viewer window. *01:02:30.620* Okay, well, if you have *01:02:33.980* If you have the like essentially the monitor, if you move your mouse over the from left to right or right to left over the actual monitor, you will move through that clip, like skimming through it. *01:02:36.480* **Speaker 1**: Okay, now here's a problem with that. *01:02:49.740* **Speaker 1**: So you don't want to do it in the film strip mode. *01:02:54.460* If there was a film strip mode, that's fine. *01:02:58.380* But when it's all focused in the top left, it's, I don't know, I don't like it. *01:03:00.460* But if you notice, when you import footage into 10, *01:03:06.860* and you from a folder per se, you have the viewer window big, front and center. *01:03:10.180* You have the film strip of that clip underneath, and then it's just folder file structure underneath. *01:03:15.859* I love that view, and I'd love to have it *01:03:21.540* not only in the import dialogue, but also within just the app as a mode. *01:03:25.940* **Speaker 1**: What if, how about this? *01:03:31.300* **Speaker 1**: Let's take it one step further. *01:03:33.140* **Speaker 1**: What if Apple you know, it's interesting, just the other day, Alex and Lindsay posted, just installed Yosemite, QuickTime ten still sucks. *01:03:35.860* **Speaker 1**: Um what if QuickTime 10 became that tool? *01:03:47.039* **Speaker 1**: What if every that you could keyword *01:03:53.920* **Speaker 1**: and favorite in Final Cut ten, a piece of media and I realize this doesn't work this way, but if you had like a stand alone app that was like *01:03:59.060* **Speaker 1**: We'll call it the edit assistant tool or something. *01:04:12.740* **Speaker 1**: And so the producer can actually make their calls. *01:04:16.820* **Speaker 1**: Here's the good part. *01:04:21.860* **Speaker 1**: Take it from here to here, whatever. *01:04:23.140* **Speaker 1**: And now that I get your content, you know, when he gets off that plane from the shoot, *01:04:26.420* **Speaker 1**: He's never had to launch Final Cut, but he's been able to keyword everything and I can get that keyword data into Final Cut. *01:04:33.340* **Speaker 1**: Doesn't Adobe Prelude do that? *01:04:43.020* **Speaker 1**: I don't know that it goes into Final Cut. *01:04:45.500* **Speaker 1**: It might go into Final Cut. *01:04:47.260* No, no, no, but I'm saying just theoretically how that works. *01:04:47.900* As well as *01:04:51.020* Red Giant had a product, Matt, what was it, that was similar? *01:04:53.380* I think it's a fairly new one, right? *01:05:01.460* Well, there's two there's a new one, which is great, Offload, which is essentially just copies your cards to folder structure, and it can copy them to multiple locations. *01:05:03.740* So it kind of takes the human error out of that. *01:05:14.520* But before that, there was something that did the same thing, but it also allowed you to keyword and review footage. *01:05:17.880* **Speaker 1**: I think that Scott Simmons used it on his giant. *01:05:28.060* **Speaker 1**: Did you see his piece that he did for the summer camp? *01:05:32.460* I did. *01:05:36.620* **Speaker 1**: Yeah. *01:05:37.340* **Speaker 1**: And so he talked about using something that was generating keywords in the field and actually being able to get that data into Final Cut. *01:05:37.900* **Speaker 1**: You can go back and listen to that episode. *01:05:48.859* **Speaker 1**: I don't specifically remember the details of it. *01:05:51.420* **Speaker 1**: Let's see, can I find what that is quickly? *01:05:55.660* I think it was it's bulletproof. *01:05:58.140* **Speaker 1**: Yes. *01:06:00.619* **Speaker 1**: You're being paged. *01:06:02.700* **Speaker 1**: Is your door knocking? *01:06:05.900* **Speaker 1**: Is my door knocking? *01:06:08.940* **Speaker 1**: Yeah, I thought I heard somebody knocking. *01:06:10.140* **Speaker 1**: Okay. *01:06:11.900* **Speaker 1**: Let me think. *01:06:12.960* **Speaker 1**: I'm going to get you the episode number that Scott talked about that. *01:06:13.520* **Speaker 1**: Episode 86. *01:06:20.080* **Speaker 1**: By the way, you are now episode 99. *01:06:21.600* **Speaker 1**: How does that make you feel? *01:06:24.320* You know, it's funny because when you were talking about the hundredth episode, I was really looking forward to that. *01:06:28.339* And little did I know that *01:06:34.020* I would be the fluff before. *01:06:36.000* **Speaker 1**: Yeah, it's funny from a numerology standpoint why we make a big deal out of things, but it's uh *01:06:39.760* **Speaker 1**: I can remember when we hit a hundred on uh the Convergence Digital Convergence show. *01:06:45.840* **Speaker 1**: I was like, whoa That was, you know, once a week, if that. *01:06:50.960* **Speaker 1**: Yeah, I don't know if you're busy, but I will extend this invitation to you, and I want to remind everybody else who's listening, this will be Monday the 17th episode, November 17th. *01:06:56.520* **Speaker 1**: By the way, my birthday. *01:07:09.680* **Speaker 1**: No cards, just send money. *01:07:11.520* **Speaker 1**: But on Wednesday evening, 7 p. *01:07:15.280* **Speaker 1**: m. *01:07:19.440* **Speaker 1**: The 19th, we are going to record episode 100. *01:07:22.280* **Speaker 1**: And I would like to extend the invitation back. *01:07:26.760* **Speaker 1**: I don't know if you're available. *01:07:28.520* **Speaker 1**: You can say no. *01:07:29.720* **Speaker 1**: It's also might be too late. *01:07:30.839* **Speaker 1**: But if you want to join in, even just to listen in, we're going to do a live Google Hangout. *01:07:32.740* **Speaker 1**: I think it's going to call I think it's called a Google Hangout on Air. *01:07:37.940* **Speaker 1**: Anybody is welcome to listen in. *01:07:41.240* **Speaker 1**: But Charles, I'm going to invite you. *01:07:42.840* **Speaker 1**: If you would if you're interested, I'll send you an invite to join into the conversation as well. *01:07:44.840* **Speaker 1**: Thank you, I would. *01:07:49.540* **Speaker 1**: You don't have to decide that now, and I might this might be an awkward funwick. *01:07:50.580* **Speaker 1**: Why would I want to talk to you twice in a week? *01:07:54.820* **Speaker 1**: But that will be this Wednesday night, November 21st. *01:07:58.120* **Speaker 1**: I believe it will remain, if I leave it, on my Google or excuse me, my YouTube account. *01:08:03.080* **Speaker 1**: But I will make the audio from that conversation our 100th episode on Friday the 21st. *01:08:11.640* **Speaker 1**: Look at that. *01:08:17.159* **Speaker 1**: I'm actually planning ahead. *01:08:17.719* **Speaker 1**: Wow *01:08:19.159* **Speaker 1**: So yeah, I think one of the oh, I'm sorry, so skimming over the entire length, you had more *01:08:21.500* Yeah, I have more actually. *01:08:29.920* Let's go. *01:08:31.120* Let's go. *01:08:31.520* All right. *01:08:32.000* Finer library consolidation controls. *01:08:32.480* For instance, when I want to consolidate media, if it already lives within a given project, I don't want to move it. *01:08:35.840* **Speaker 1**: But wait, isn't that exactly what consolidating is? *01:08:42.380* Okay, well here's a scenario. *01:08:46.220* I'm taking some B-roll from another project. *01:08:49.100* Which is sits on another drive. *01:08:51.660* And ultimately, when I'm done with this project, I want to get everything so it's a standalone. *01:08:53.740* So I want to consolidate. *01:09:01.100* But I don't want my PNGs and my titling to go into the original media folder, because then I can't overwrite them and have them automatically update. *01:09:02.619* I have to reconnect if I want to overwrite them. *01:09:14.219* **Speaker 1**: Okay, so I get this. *01:09:17.460* **Speaker 1**: So let's break this down. *01:09:19.060* **Speaker 1**: So there's different as we all know, there's different types of media. *01:09:20.980* **Speaker 1**: There's your camera masters, there are your bits of art that you create. *01:09:23.699* **Speaker 1**: And there's sound files. *01:09:28.619* **Speaker 1**: And that's pre I mean, I'm probably leaving something out, but that's the gist of 99% of it. *01:09:29.819* **Speaker 1**: So *01:09:36.059* **Speaker 1**: you're referencing the fact that you're actually using one of the tips of one of my tutorials, that if you keep your artwork, like PNGs, JPEGs *01:09:37.020* **Speaker 1**: Things of that nature, even animated MOVs, in an outside folder, outside of the library structure. *01:09:49.960* **Speaker 1**: When I want to make an update to something, I can just overwrite it from Photoshop or whatever, and that update will automatically appear in my timeline because Final Cut's just looking at lower third image seventeen. *01:09:58.080* **Speaker 1**: Correct? *01:10:12.240* **Speaker 1**: So you're saying on occasion you are updating *01:10:15.040* **Speaker 1**: You are pulling media from another library and still image from another library? *01:10:21.699* No, not still image. *01:10:29.219* I'll have a folder structure where I have my titles in a folder. *01:10:34.320* And when I consolidate, it pulls everything and pulls it into the specified folder of media. *01:10:38.000* So then it's all of a sudden it is now referencing a copy of my original title that has now been copied to the media folder where I actually would like to keep it in my titling folder. *01:10:44.320* **Speaker 1**: Right. *01:10:55.060* **Speaker 1**: I will say this. *01:10:56.020* **Speaker 1**: I ran into this actually just this week. *01:10:56.900* **Speaker 1**: Although that may be a problem at that moment, again, sorry, Scott, workaround. *01:11:01.620* **Speaker 1**: When you go to relink media, there's a button that I think a lot of people overlook. *01:11:07.020* **Speaker 1**: If I select some of my media here and I right-click on it and I say *01:11:13.820* **Speaker 1**: No, no, right click on it. *01:11:19.620* **Speaker 1**: I got to go to the menu, file menu, and say Relink Files. *01:11:20.820* **Speaker 1**: There is a radio button at the top of that window between missing or all. *01:11:24.980* **Speaker 1**: Do you ever even notice that radio button? *01:11:32.160* **Speaker 1**: I do. *01:11:35.360* **Speaker 1**: In the Relink files. *01:11:35.840* **Speaker 1**: So under Missing, if I select Missing, it's only going to show the things that FinalChat actually can't find. *01:11:37.280* **Speaker 1**: But when I select all, it shows me all of that stuff. *01:11:43.820* **Speaker 1**: So let's say you did that consolidate and you went, uh, realize that's actually now pointing at *01:11:47.500* **Speaker 1**: excuse me, the copy that's in the library storage location, you could actually go back in and reaim those *01:11:54.699* **Speaker 1**: By using the relink, you can reaim it to the other instance of that file. *01:12:04.199* **Speaker 1**: That's a workaround. *01:12:10.119* **Speaker 1**: A total workaround. *01:12:11.239* **Speaker 1**: But I just had to do something like that this week to solve a problem. *01:12:13.520* **Speaker 1**: And that missing and/or relink radio button is pretty important to remember that that's there. *01:12:19.040* And speaking of missing media, I want a missing media report. *01:12:25.460* Sometimes you'll relink media. *01:12:29.940* You have the triangle that says you're missing something. *01:12:32.739* You relink everything. *01:12:36.179* Can't find one clip that isn't present, yet the triangle will not go away. *01:12:37.840* **Speaker 1**: Yeah, and instead of digging through all your keywords or scrolling through your library of data, looking for that one thing that it thinks it's missing. *01:12:42.960* **Speaker 1**: Just tell me what it is. *01:12:50.900* **Speaker 1**: Exactly. *01:12:52.500* **Speaker 1**: Yeah, and sometimes it says something's missing, and it really isn't. *01:12:53.140* I've done some Googling, and I found that if you make a new *01:12:57.860* Project and then copy everything into the new project, it'll go away if it bothers you that much. *01:13:02.820* **Speaker 1**: Sometimes rebooting makes it go away. *01:13:10.340* And I did. *01:13:13.460* And then I closed it and I opened it and it went. *01:13:14.540* I made that copy. *01:13:17.340* It went away. *01:13:19.260* And I'm like, oh, great. *01:13:19.980* But of course, I have to check. *01:13:21.099* I close it, open it back up, it's there. *01:13:22.380* Awesome. *01:13:27.840* And it's, I'm sure it's nothing, but it's making me feel like I'm going to get screwed later. *01:13:29.120* **Speaker 1**: I totally agree. *01:13:35.580* **Speaker 1**: It's one of those things. *01:13:36.780* **Speaker 1**: It's like, I'm old enough to know that this is going to be a this is going to bite me in the ass later. *01:13:37.580* At the worst possible time. *01:13:41.740* **Speaker 1**: Yeah, and I will also say that we are starting to really fall in love with the section of the m the file menu right below send a compressor. *01:13:43.540* **Speaker 1**: where it has the copy clip to library, move clip to library, consolidate project files is in there, delete generated library files *01:13:54.280* **Speaker 1**: And merge events. *01:14:04.500* **Speaker 1**: And if you listen to the Saturday show, because I apologize, I was late with Friday's show, but if you listen to the Saturday show, *01:14:05.700* **Speaker 1**: My boss, Paul Koblik, said, Yeah, I don't believe in anything that says merge in a video editing application. *01:14:14.080* **Speaker 1**: He says it should say purge because he's lost files in the past by trying to merge things together. *01:14:20.960* **Speaker 1**: So *01:14:27.280* **Speaker 1**: Sometimes you can be a bit overly cautious. *01:14:28.400* **Speaker 1**: I don't know. *01:14:30.320* Can you be overly cautious? *01:14:30.800* Not in this business, no. *01:14:32.640* **Speaker 1**: And of course, everybody wants the Rolls-based mixer. *01:14:35.360* Yes. *01:14:39.260* **Speaker 1**: Yeah, it's interesting. *01:14:40.220* **Speaker 1**: Did you see on there was something on Facebook the other day that was posted by Steve Martin, not that one. *01:14:41.260* **Speaker 1**: Talking about a mixer. *01:14:52.060* **Speaker 1**: And he said, it was interesting because, you know, let's face it, we all know *01:14:54.060* **Speaker 1**: Steve and Mark have to be pretty close to Apple. *01:15:00.740* **Speaker 1**: All you got to do is look at the evidence when Final Cut 10. *01:15:04.340* **Speaker 1**: 0 *01:15:07.300* **Speaker 1**: Was released the same day. *01:15:08.320* **Speaker 1**: There was a giant set of tutorials that were not cranked out that afternoon that were available from Ripple. *01:15:10.000* **Speaker 1**: So let's face it, those guys have some relationship with Apple. *01:15:15.840* **Speaker 1**: And he's asking the question, why do people really need a mixer? *01:15:20.520* **Speaker 1**: It's like, oh, that's actually really encouraging. *01:15:25.320* **Speaker 1**: That means somebody's at least talking about a mixer or a roles-based mixer. *01:15:27.720* But I mean, even just for the simple thing, I was talking about that birthday video, and I kicked it out, and the guy that was playing it *01:15:33.240* Telling me that I had some clipping. *01:15:41.140* And it's no surprise because I couldn't possibly fix every last thing in there. *01:15:43.380* But if I had a Rolls-based mixer, I could throw a limiter *01:15:47.300* on just that entire role, and boom, I wouldn't have to worry about it clip by clip. *01:15:51.640* **Speaker 1**: I think that if you can if you're going to sit in front of me and try to logically tell me that I don't need *01:15:56.440* **Speaker 1**: And I'm not going to say I'm not I won't even call it a roles-based mixer because I understand that I can use my timeline index to help me select or at least see *01:16:06.000* **Speaker 1**: all of the things that I want to apply a single thing to, or I can gain them all up or down by two or three or five or ten dB. *01:16:17.440* **Speaker 1**: I get that. *01:16:26.720* **Speaker 1**: But what you really want, the byproduct of a Rolls-based mixer, is not that I have a stupid little what do they call it, a skewmorphic user interface thing that I can click on a fader and pull it up or down *01:16:28.140* **Speaker 1**: What I really want, the real end result out of a roles-based mixer, is roles-based inserts, where I can place an effect on an entire group of clips and not just one at a time, and have to copy and paste the attributes. *01:16:41.140* **Speaker 1**: Because it works fine if I have the attributes exactly right. *01:16:54.060* **Speaker 1**: But if I have to copy an EQ and then paste it across, you know, 10 clips or 100 clips again, now I'm going to have two instances of that EQ most of the time. *01:16:57.820* And we've never had any problems with paste attributes. *01:17:07.320* **Speaker 1**: So I have no idea why we can't have remove attributes. *01:17:10.040* **Speaker 1**: I don't. *01:17:14.760* **Speaker 1**: Yeah, that's another one. *01:17:16.000* **Speaker 1**: It's annoying that we now have a much better paste attributes, but we still don't have the remove attributes. *01:17:17.440* **Speaker 1**: I don't know. *01:17:29.760* **Speaker 1**: Oh, wait, wait, wait. *01:17:31.440* **Speaker 1**: I'm going to ask you one last question. *01:17:34.960* **Speaker 1**: We've been talking about features, so it's not that, and this might be a whole nother show. *01:17:36.719* **Speaker 1**: You're telling me that you've been using Resolve. *01:17:44.040* **Speaker 1**: Do you have a good workflow? *01:17:49.559* **Speaker 1**: Have you had any problems getting your time lines *01:17:51.880* **Speaker 1**: in and back out of Resolve with your now with your colorized media back into Final Cut 10. *01:17:54.420* It depends on the project. *01:18:03.000* I think that things you know, we went into this whole business about transitions, but I think transitions tend to be you tend to use them in different types of work. *01:18:04.600* You're doing corporate video, there's a lot of *01:18:14.280* you're probably using more transitions than you'd even like to. *01:18:16.880* For a more of a filmic narrative piece, I think where you're not doing all you're doing is cutting picture and *01:18:21.600* and it's more story based. *01:18:28.140* I think it's easier to get in and out of Resolve. *01:18:29.900* But I wouldn't even try to go to Resolve for a corporate piece that had all that stuff in it because there's too much that can fall away. *01:18:32.620* **Speaker 1**: You mean uh in terms of like never having final cut down? *01:18:40.620* **Speaker 1**: I mean not final cut the application, but the final picture lock. *01:18:45.739* **Speaker 1**: Is that what you mean by fall away? *01:18:49.739* **Speaker 1**: Um *01:18:51.820* **Speaker 1**: I'm sensing no. *01:18:54.219* No, it's just a completely different, different thing. *01:18:57.500* I think when. *01:19:00.860* I'm using Final Cut in pl uh, there's a lot of plugins that I'm using in Final Cut that are taking the place of After Effects work that I used to do. *01:19:02.140* there's a lot more fanciness and plugins all over the timeline, which I don't think that's a really good a good thing to even bother to use Resolve with. *01:19:10.860* I've had no problem with it, just some very simple cutting picture and in the primary storyline and then bringing it in and then bringing it back. *01:19:21.280* But as soon as you start dealing with *01:19:32.080* more complex stuff. *01:19:35.280* I know that there's there's things that don't quite come back, go out the same way. *01:19:37.199* **Speaker 1**: Yeah, I I will say, you know, and you know I work with Alex McLean all the time, and I do not envy his job in the slightest. *01:19:43.320* **Speaker 1**: I mean, the *01:19:54.120* **Speaker 1**: What you're dealing with trying to color a modern piece that's you know, I'm not talking about a bunch of strung-out shots of *01:19:55.940* **Speaker 1**: you know, people in Prague, like a you know, Philip Bloom piece. *01:20:04.119* **Speaker 1**: I'm talking about stuff that's heavily composited, heavily treated, you know, shrunk back, pushed back, laid, you know, stuff laid over. *01:20:07.719* **Speaker 1**: It's like, oh, I just, I do not want that job. *01:20:17.040* **Speaker 1**: And again, I just, I would rather. *01:20:21.360* **Speaker 1**: Figure out how to do my color to the best of my abilities in my timeline with the tools that I have. *01:20:24.660* **Speaker 1**: I much prefer working that way. *01:20:30.180* Well, that's why I wrote you about Cineflare, the white balancer. *01:20:32.540* Right. *01:20:36.860* That thing is awesome. *01:20:37.340* Tell me about that. *01:20:38.619* It's a plug-in that's a white you know, a white balancer plug-in, but it also has much finer controls with regard to *01:20:40.240* Just all the values. *01:20:49.580* It has, oh, I don't even have it in front of me right now, but it's, I was able to correct some footage that was shot with the wrong white balance and get it *01:20:50.780* Pretty close to what it would have looked like if it was shot right, and I tried to do the same thing in the colorboard, and it just looked like I *01:20:59.619* Almost threw some gels over it as opposed to didn't feel like I was going into the pixels to fix it, I was just throwing something on top of it. *01:21:07.140* **Speaker 1**: Yeah, that was an interesting email that you sent me. *01:21:15.580* **Speaker 1**: And when I looked at the demonstrations, can we share those? *01:21:18.460* No. *01:21:23.420* Okay. *01:21:24.220* Yeah, I get it. *01:21:24.540* **Speaker 1**: I get it. *01:21:25.660* **Speaker 1**: You know, I was just. *01:21:26.060* **Speaker 1**: I just uh was talking with this producer that I do a lot of the stuff for BMW for. *01:21:27.340* **Speaker 1**: And I mentioned to her, I said, uh *01:21:33.420* **Speaker 1**: You know, I really, I really like that piece we did a couple months ago. *01:21:36.000* **Speaker 1**: She goes, oh, it's so beautiful. *01:21:39.040* **Speaker 1**: They use it all the time there. *01:21:40.240* **Speaker 1**: And I said to her, I go, *01:21:42.320* **Speaker 1**: Can I share that publicly? *01:21:43.960* **Speaker 1**: And she goes, Oh, yeah, totally. *01:21:45.239* **Speaker 1**: Yeah, no. *01:21:48.600* **Speaker 1**: And it was I was just I just almost had her to say yeah, she's no, yeah, you can wait, hold on, uh, ratchet through the, you know, the index cards. *01:21:53.700* **Speaker 1**: No, yeah, no, you can't show that. *01:22:03.540* **Speaker 1**: But so I get it. *01:22:05.320* **Speaker 1**: Yeah, there's a lot of times you can't. *01:22:06.120* **Speaker 1**: See, it shows I trust you, Chris. *01:22:07.800* **Speaker 1**: No, you know. *01:22:10.280* **Speaker 1**: Charles, we should wrap this up. *01:22:12.440* **Speaker 1**: Thanks so much for being *01:22:13.880* **Speaker 1**: the handing off the baton to show 100. *01:22:16.719* **Speaker 1**: Again, this comes out Monday morning, the 17th of November. *01:22:21.040* **Speaker 1**: If you are listening to this and you can't, and you haven't had enough of me yet this week, join us. *01:22:25.920* **Speaker 1**: Wednesday night, November 21st, 7 p. *01:22:34.740* **Speaker 1**: m. *01:22:37.700* **Speaker 1**: California time. *01:22:37.860* **Speaker 1**: I will tweet the link *01:22:39.700* **Speaker 1**: I will tweet it both from at Chris Fenwick and at Digit FCPX Grill. *01:22:42.320* **Speaker 1**: Excuse me, I will tweet that. *01:22:49.740* **Speaker 1**: Everybody will be able to come in and listen in. *01:22:51.980* **Speaker 1**: And if you just think that's stupid, or you'd rather be watching dances with the chefs or whatever. *01:22:55.180* **Speaker 1**: then you can download it for your commute on Friday morning because I will make that audio available in the next couple of days. *01:22:59.619* **Speaker 1**: So Charles, thank you so much. *01:23:06.820* **Speaker 1**: I appreciate you taking the time on your weekend to do this. *01:23:09.059* Thanks, Chris. *01:23:12.540* It was fun. *01:23:13.179* **Speaker 1**: We'll do it again, I'm sure. *01:23:13.820* **Speaker 1**: Take care. *01:23:15.179* You too. *01:23:16.059* **Speaker 1**: At any rate, that was Charles Silverman. *01:23:17.500* **Speaker 1**: Charles, thanks again for being a part of the show. *01:23:19.739* **Speaker 1**: Um I gave you all the details at the beginning of the show. *01:23:22.219* **Speaker 1**: I won't I won't say it all again, but please remember um uh what is it, Wednesday night, uh, November nineteenth, log on and look for the link in Twitter by my feed or the show feed and uh you can *01:23:24.620* **Speaker 1**: Listen to episode 100 being recorded live, and you can see how many edits we actually do make. *01:23:36.940* **Speaker 1**: Almost none. *01:23:42.140* **Speaker 1**: And also, I want to say if you've gotten this far, thanks so much for listening. *01:23:45.380* **Speaker 1**: I really appreciate it. *01:23:48.580* **Speaker 1**: Go to the iTunes and leave a comment, leave stars, things like that. *01:23:49.380* **Speaker 1**: It just helps other people find the show, and that's good for everybody. *01:23:56.140* **Speaker 1**: So, thanks again, and make sure you tune in Wednesday night. *01:24:00.860* We'll see you then later, later. *01:24:04.380*