Get the Latest BuZZ Each Week

Transcript: Digital Production Buzz – Dec. 19, 2013

Digital Production Buzz

December 19, 2013

[Transcripts provided by]


      Click here
to listen to this show.]


Larry Jordan

Michael Horton


Norman Hollyn, Editor and Professor, USC Film School

Dave Basulto, Media Arts & Animation Instructor, San Marino High School

Philip Hodgetts, President, Intelligent Assistance

Sean Mullen, CEO & Lead Creative, Rampant Design Tools


Voiceover: This Digital Production Buzz is brought to you by Blackmagic Design, creators of the world’s highest quality solutions for the feature film, post production and television broadcast industries.

Voiceover: Live from Ralph’s Maytag Museum at Podcast Studio in beautiful downtown Burbank, it’s the Digital Production Buzz.

Voiceover: Production, post production, distribution. What’s really happening now and in your digital future?

Voiceover: The Buzz is live now.

Larry Jordan: And welcome to The Digital Production Buzz, the leading internet podcast covering digital video production, post production and distribution around the world. My name is Larry Jordan and joining us in a pre-holiday mood with a Santa cap jauntily placed on his head, the ever handsome Mr. Mike Horton.

Mike Horton: Hello, Larry and I bet you’re tired.

Larry Jordan: It has been…

Mike Horton: I know I was up ‘til about three and you were probably up longer than that.

Larry Jordan: It was a long day. A lot of exciting news coming out of Apple. We’re going to be talking about that throughout the show today, plus some other very talented guests. The first one, Michael, you may have heard of this gentleman. He’s so famous that he doesn’t talk to most people any more.

Mike Horton: That’s right, he is very hard to book.

Larry Jordan: I tell you, Norman Hollyn, a Professor at the USC School of Cinematic Arts joins us this week to share his thoughts on teaching editing, creativity and technology and I always enjoy working with Normal as part of our 2 Reel Guys podcast, but what I really like is to listen to him share his thoughts on the process of teaching and teaching creativity.

Larry Jordan: David Basulto is a teacher and inventor. Recently, he funded his latest project – iOgrapher – using Kickstarter. We visit with him tonight to learn what he did to make his Kickstarter campaign successful.

Larry Jordan: And early – early – this morning, Apple released the latest version of Final Cut Pro 10. We thought it was going to go out at midnight. It went out at 12.30, actually…

Mike Horton: Yes, you were just waiting.

Larry Jordan: …12.28 and I’m ready to hit the button and I’m just waiting and just waiting. Oh, my gracious.

Mike Horton: And then it was upgraded. How late were you up last night?

Larry Jordan: Till three o’clock.

Mike Horton: About three o’clock, yes.

Larry Jordan: Yes.

Mike Horton: I was just stealing all your websites and aggregating everything.

Larry Jordan: We had a lot to aggregate, I tell you. Apple released the latest version of Final Cut Pro 10, plus the widely anticipated Mac Pro computer is now available for sale and Philip Hodgetts, the President of Intelligent Assistance, was a beta tester for Final Cut and stops by to share his thoughts on this new version of the hardware. We’re going to talk Mac Pros and Final Cut and upgrading and media management and new features and codecs, because Mike likes that.

Mike Horton: Mhmm.

Larry Jordan: Sean Mullen, the CEO and Lead Creative for Rampant Design Tools joins us to talk about some new visual effects products they launched yesterday. We’ve got a great group of folks coming on.

Larry Jordan: By the way, we’re still offering and continuing throughout the next year to offer text transcripts for each show, courtesy of Now you can quickly scan or print the contents of each show, as well as listen to it. Transcripts are located on each show page. You just have to click the ‘Show transcript’ button and thanks,, for making it possible.

Larry Jordan: So what were you doing up until three o’clock?

Mike Horton: I was playing music, listening to Pandora, watching some of your videos. No, I was actually aggregating everything and getting all that stuff onto one page so everybody would have a one page shopping site to go and visit to know everything they can possibly know about Final Cut 10.1. But then I forgot about motion. I forgot about compressor.

Larry Jordan: I haven’t forgotten about either one of those. We’re going to talk a lot about Final Cut, both with Philip Hodgetts and also at the end of the show. Michael has been compiling questions from.

Mike Horton: There is a great deal of feedback. Of course, everything that comes out of Apple is polarizing, as this was too.

Larry Jordan: Be sure, by the way, to keep visiting us on Facebook, at, we’re on Twitter, @dpbuzz, and subscribe to our weekly show newsletter with It’s free and has all the latest news on the industry. We’ve got the ever handsome bon viveur world traveler, Mr. Norman Hollyn, coming up right after this.

Larry Jordan: The latest version of Da Vinci Resolve 10 is now shipping from Blackmagic Design. This new version includes innovative tools to speed on-set color grading, support for open effects plug-ins and simplified integration of Final Cut Pro, Avid and Premier Pro projects, allowing timelines to be easily moved in and out of Resolve. You can even tweak your edits inside Resolve without wasting time switching back to your editing software just to make a simple change.

Larry Jordan: New editing features include full multi-track editing with 16 channels of audio per clip and unlimited video and audio tracks in the timeline. Da Vinci Resolve 10 can finish online from the original camera files for dramatically better quality. The latest version of Resolve 10 is a free upgrade to all Resolve users and, if you’re looking for ways to make your pictures look great, download the free version of Da Vinci Resolve 10 from That’s

Larry Jordan: Norman Hollyn is a teacher, educator, writer and full professor at the USC School of Cinematic Arts, where he is head of the editing track and the recent recipient of the Michael Kahn Endowed Chair in Editing…

Mike Horton: Whoohoo!

Larry Jordan: …in honor of Steven Spielberg’s editor. Norman and I also co-host a popular website called 2 Reel Guys and no-one is more real than Norman. Welcome back.

Norman Hollyn: Well, ho-ho-ho to you guys.

Larry Jordan: I tell you, today has been a heck of a day. We’ll talk more about that.

Mike Horton: I’ve got to tell you, the 2 Reel Guys website, the videos that you put on, that is a master acting class.

Norman Hollyn: Well, no-one has ever accused me of being a good actor, so

Mike Horton: Well, I am. You both are very good actors.

Norman Hollyn: Oh, well, thank you, because we’re really not real in real life, right?

Mike Horton: You play a very good version of yourself, Norman.

Norman Hollyn: And that’s what I mean about not acting. Right.

Larry Jordan: See, Norman carries it off with aplomb. It’s just fun to watch. Norman, what do you teach at USC?

Norman Hollyn: I run the editing track there, which means I generally teach editing, although obviously the definition of editing is getting broader and broader as each day goes on, so we do a lot of pre-production, a lot of production, a lost of post production, a lot of web, a lot of new media. I mean, I could go on forever, but that’s because I’m a teacher. So yes, it’s post production editing, yes.

Larry Jordan: Is this an undergraduate course or graduate school? I mean, who are your students?

Norman Hollyn: Well, USC is one of the better known film schools in the US and the world and we have an undergraduate and a graduate program. I’m in one particular division of the school, which is kind of huge, and I’m in what’s called the inaccurately known cinema and television production division and it’s inaccurate because we do a lot more than film and TV.

Larry Jordan: One of the questions I get asked a lot, because I do teaching as well, is what is your goal in teaching? And I want to just sort of take a little bit of time and reflect on that for just a minute, because you and I have slightly different points of view from which we bring that. But when you’re standing in front of a class, what are your goals when you’re working with the kids?

Norman Hollyn: Well, I actually think that your goal and my goal are very much the same in a lot of ways, that’s why we do the 2 Reel Guys. I remember, we talked about 2 Reel Guys when there were tons of podcasts and tutorials out there on how to push the button and very, very few, none at that point when we started, on why you would push the button, so I think that what we both do is we try and have people think like film makers.

Norman Hollyn: That’s my goal, is to help them understand the storytelling aspect of it because it’s too easy to push the buttons but it’s really difficult to understand how to tell a story and why you would do that, no matter what kind of story it is. You know, we have people who graduate and go on to do wedding and event videos as well as feature films as well as television and it’s all storytelling in my mind.

Larry Jordan: Well, you know, one of the challenges I’ve found, because I teach in a different part of USC as well as technical schools, is getting kids to actually – and I define kids to be Mike’s age or less, it’s a broad definition.

Norman Hollyn: There we go. Well, my father is a kid, then, by that definition.

Larry Jordan: Grandfather is a kid by that definition.

Mike Horton: All right.

Larry Jordan: But to get them to actually see what they’re looking at, as opposed to just simply seeing what they think should be there. To get them to see, “Oh, did you realize you’ve got that badly framed?” or “There’s a typo there,” or “Did you really want that bad splotch?” But what I’ve found is the actual act of looking does not involve seeing.

Norman Hollyn: Yes, you know, that’s absolutely right. There are a lot of people out there saying, “How can you teach editing? Isn’t that something that comes from the gut?” and I think you’ve actually touched very much on one of the things that is very helpful from a teaching point of view. It’s something that, when I was coming up as an editor, that was the time when film was out there, remember that?

Larry Jordan: I have read about it in books.

Norman Hollyn: That’s right.

Mike Horton: I actually touched it one time.

Norman Hollyn: It was shortly after the Stone Age, right? That’s when I started, but we had a whole several years of apprenticeships and assistantships where I just stood next to some really amazing editors and looked at how they saw it, observed how they interacted with the producers and directors in the room and a lot of the discussion was about the very thing you just talked about, Larry, which is how to look at what you think you’re looking at, so that may be framing but that also may be a nuance of a performance, that actually what is really being said subtextually in a piece of film, whether it’s narrative, fiction, a documentary or a commercial – and I’ve done them all as editors – they’re all different storytelling genres, so we really need to understand what’s being conveyed in the image.

Norman Hollyn: In fact, I remember we had one set of students who insisted that they needed to shoot a particular scene of some kids watching their house burn down and they needed to go an hour away from campus to drive and capture because it was the perfect location and, in fact, when they went and shot it, these kids were in a medium close-up, they could have shot it actually right behind our building. But they really weren’t looking at what the camera was seeing as opposed to what they were seeing out there and what they thought the camera was seeing and that’s what I think they learn a lot – what’s visible through the frame and what you can add through audio as well, so there’s a lot to learn. I learn every class I teach, frankly.

Larry Jordan: Well, let’s shift the gears. Think about your career. What’s the most important thing that you’ve learned over the years that allows you to be a better teacher?

Norman Hollyn: Not to be a moron to people that you work with. I think that it’s a combination of how to collaborate well and how to observe well. So we’ve already talked about the observation part, but one of the biggest challenges that I think all of us who have strong artistic sensibilities have when they’re working on something is, “I need to have my ideas heard,” and I think it’s especially potent nowadays, when the DIY students – we’re getting so many students who have done it all when they walk in the door and they’re all petrified and not sure how to work on a single story that may not be theirs but still bring their own artistry and story to it – so how to not be a dick with other people, I think, is really important, but also how to communicate ideas outwards and how to receive ideas and criticism inwards.

Norman Hollyn: To me, that’s an amazing arc that I see our students take over the three to four years.

Mike Horton: Talking to editors, like I have over the past several years, one of the mantras is the ability to get along with other people. Not only that, but you wear many hats as an editor. I mean, you’re not only just an editor, you are a mediator, you are an arbitrator, you are a psychologist and you also need to be someone that you can be locked in a room with for 12 hours without killing them.

Norman Hollyn: Yes, absolutely. Yes.

Mike Horton: And that’s a big, big deal and the best ones are always like that, they’re always these wonderfully nice people. I love editors.

Norman Hollyn: I know. It’s so much fun hanging out with them, when we’re not editing. One thing I do say to almost every class, the very first class that I have with them, is more than 50 percent of my job has nothing to do with my editing. It really has to do with making sure that people understand that I’m on the side of the movie, that I’m on their side, I’ve got their back and that we’re going to be working on this wonderful, wonderful experience and project together, so that’s something that they have to be able to learn and one of the advantages of being at a film program as opposed to doing it out in real life is no-one’s cutting your check for this so that you can make mistakes, you can learn from your mistakes, as they all do, and it doesn’t injure someone else’s production in that way.

Larry Jordan: We have the live chat running, Norman, as you know because you’re on it, but Eric is asking a question about whether it’s important for the editor to be involved in pre-production.

Norman Hollyn: Well, let me put it this way. I think it is. I fight to have that happen on every project that I’m on. It doesn’t always happen and you certainly make it work, even if you don’t. But on television, for instance, I will often start the first day of dailies so not a lot of pre-pro there, but most editors who I know, whether they’re involved in features or television or commercials, are involved in pre-pro, whether it’s being involved in storyboards or, frankly, I like to go to the rehearsals and just sit silently and listen and I learn so much about the director’s point of view, the actors’ point of view, just by listening to that.

Norman Hollyn: So yes, I would fight for it every single time, even to the degree that I will start a film going on location scouts and rehearsals, even if I’m not getting paid for it, which is just one step above what we get paid as teachers.

Mike Horton: The best piece of advice I ever got from an editor, and unfortunately I can’t remember his or her name who gave that to me, was when we were talking about learning about editing. They said, “Don’t go to the movies. Go to the theater,” as simple as that and as complex as that, and just let that digest for a second and then wonder about it and, yes indeed, by going to the theater you’ll learn more about editing than you will by going to the movies.

Norman Hollyn: Yes. I also think go to museums too, and one thing that I found very, very helpful to me is I took acting classes as well. I’m a terrible actor, but I learned the language and I learned what was important to the crafting of performance and I think that’s really helped my editing.

Larry Jordan: We’ve had this conversation a lot – how do you balance teaching the technology of editing with the creative craft of editing? Because you cannot teach one without teaching the other.

Norman Hollyn: I leave the teaching of technology to you, Larry. I think you’ve got that nailed. Most any creative person who I know can only learn the technology when they have a need to learn it. We’re not good manual readers, you know, we kind of like figure it out on our own and then maybe later I’ll go back and read the manual and say, “Oh God, there was an easier way of doing that,” so that I think the way that I balance it is to teach the story side and then they have an absolute need to figure out, “Well, how do I make that split edit happen?” or “I really want to do that particular filter so that I can give a real sense of color to this and change something,” and then they will need it, but it grows out of a story need or a project need rather than the other way around.

Larry Jordan: I need you to do this next answer in 30 seconds. Bruce is asking what about the idea of fresh eyes, approaching the project without the bias of seeing it in production or rehearsal?

Norman Hollyn: Mhmm. You’d need to do that, get up and take a look, bring in an audience, bring in people who’ve never seen it before and, when you sit in the middle of them and watch it with them, it’s going to seem like you’re seeing it for the first time. Was that 30 seconds?

Larry Jordan: No, it’s actually 20. I’m stunned. I’m left here breathless, waiting for you to put more into it.

Norman Hollyn: I will talk slower.

Mike Horton: All right, let’s put the music on.

Larry Jordan: So, Norman, for people who want to know what you’re thinking – God knows why – but for people who do, where can they go on the web to learn more?

Norman Hollyn: They can look at my website, which is, or I’m Schnittman on Twitter.

Larry Jordan: That’s, Professor at USC’s School of Cinematic Arts. Norman, take care of yourself.

Norman Hollyn: Thank you.

Mike Horton: Thanks Norman and welcome back.

Larry Jordan: Bye bye.

Norman Hollyn: All right, thanks. Bye bye.

Larry Jordan: David Basulto is the Media Arts and Animation Instructor at San Marino High School in Southern California. However, outside the classroom, David is the inventor of the iOgrapher. Welcome back, David.

Dave Basulto: Hello, guys. It’s great to be back. I love your intro, Larry. It always seems like you’re going to say, “And David is also James Bond.” You use that kind of voice, I love it.

Larry Jordan: Well, you know, I do what I can to make our guests sound warm, welcome and mysterious all at the same time.

Dave Basulto: And you do that well.

Larry Jordan: Thank you. David, what is the iOgrapher? And then I want to focus on this whole Kickstarter program.

Dave Basulto: Well, the iOgrapher is a support case for your iPad Mini and the full size iPad, also the iPhone 5 and 5S and the Air will be coming up very soon, and what it does, it allows you to place the iPad in the case, it has three cold shoes on top so that you can put lighting or professional level audio, you can add lenses to the front of it and you can also put it on a tripod. It also has two handles on each side, so you can go mobile if you like and get steady shots with your iPads or iPhones etcetera.

Dave Basulto: As for Kickstarter, where can I start with that?

Mike Horton: It’s stressful.

Larry Jordan: What did you do with Kickstarter?

Dave Basulto: So I invented this thing, designed it and was pretty much going to use it on my own in my school because my kids were using iPhones and iPads and so I made a 3D print and people started to say, “Hey, can I buy one of those?” and I thought, “God, I don’t want to sell them, this $200 3D print every time. I’m not making any money, first of all, and they’re going to get mad because it’s going to dissolve one day because it’s cheap plastic,” so I thought, “Ok, let’s see how we design this in an injection molding kind of setting,” and so I had a lot of people say, “Why don’t you go on Kickstarter and try and crowd fund it?” and I thought that was a great idea, you know, pre-sell in advance, raise the funds and use that to get that all started, and so I did.

Dave Basulto: I did the Mini first and I think when I was at Michael’s show I was telling everybody that I was completely stressed out for 30 days, my hair turned from dark to white, and it was just an up and down rollercoaster of people pledging money, taking it away, pledging it and, lo and behold, at the end of the day we made our financing goal and we were able to go into production. But it was a crazy time.

Larry Jordan: Well, what made it so hard? And what did you do to build support?

Dave Basulto: Well, I think what we did, starting out, we were able to, I mean, going back now, what I would have done differently was maybe start 30 to 40 days out of starting to get the buzz, so to speak, out there with people and just placing it in different forums and trying to get on shows like this and talking about what I was going to start doing.

Dave Basulto: I really went at it just cold without any real placement of that and also I was just really fortunate that it was a product that people liked, they liked the idea that I was a teacher trying to kind of do good for the community and that caught the attention of and Mashable and a lot of the big websites and that really closed my funding at the end of the day. But I didn’t really do enough preparation to do that.

Dave Basulto: Also I would have done, instead of a 30 day campaign which Kickstarter recommends, I really would have gone 45 to 60 days and let it run a little longer. They’re saying if you do it in 30 days it’s better because it put more of an urgency on your project, but.

Larry Jordan: Yes, and it turns your hair white, too.

Dave Basulto: Exactly. I thought if I had 60 days, because when I did it, I started on March 14th, it was my birthday I started, I went all the away to April 14th and we’ve just finished NAB, so NAB would have been a great place, we’ve had a lot of great people following me about that at NAB and they loved it, Apple being one of them. I think if I had gone another 30 days after that, we could have even superseded our goals tremendously, so would have totally planned it all differently.

Larry Jordan: Ok, so you’ve completed your Kickstarter campaign, they’ve delivered a whack of cash to you, so what are you doing with it?

Dave Basulto: Well, after I got back from Vegas… no.

Mike Horton: I doubled it.

Dave Basulto: I doubled it, yes, and it was great. Actually, it’s interesting because I was so new to the game, I thought I would raise enough money to cover the injection mold. Well, the injection mold turned out to be, you know, twice as expensive as what I raised, so luckily I was able to get an outside investor, one of the parents of one of my students at school said, “I get what you’re doing and I want to be a part of this. Let me write you a check,” so we were able to get the molds going and get into production.

Dave Basulto: I mean, I literally had to go from, “Hey, I have this idea, I want to sell this to you guys, this is a great way to capture video etcetera, stream live events, whatever,” and I had to learn injection molding, I had to learn marketing, I had to learn fulfillment and it was just like this massive crash course in learning all these things, so we got all the stuff done in late June and we started delivering and literally I was doing it out of the house here and it was just a nightmare.

Dave Basulto: We now have a fulfillment company. It’s so automated, it’s a breeze, I love it. We’re actually getting into opening one in the UK, because we have a huge demand in Europe. They’re really into mobile journalism over there and the BBC bought a bunch of them from us, I think maybe that started things, but if you’re someone in Germany who wants to buy it right now, I mean, you’d have to buy it from California, you have the whole tariff issue, two weeks to get there unless you pay some ridiculous FedEx, so we’re setting up a corporation over in the UK to fulfill all of the EU as well.

Mike Horton: I’m still waiting for the brushed aluminum one.

Dave Basulto: That’s coming for you, don’t worry. I’m working on that.

Mike Horton: Ok, thank you. Hey, by the way, for those of you who don’t know Dave, Dave is not the coolest guy in the world but you have the coolest marketing ever and I know you’re doing a lot of this on your own with the support of the students who say, “That is cool, do that,” but your marketing has been superb. I mean, it’s just been really, really good.

Dave Basulto: You know, I like to think that I know a little bit of design and let the apps do the rest of it. I mean, I take photos of my stuff when my kids used it all and there’s a great app out there called Phoster that allows you to make these really cool posters and you can add text and do all these fun things and I’ve just been throwing them out there any time we had a cool picture and we’re getting a lot of traction on it. I mean, we’re up to almost 5,000 Facebook users now and it was zero about five months ago.

Mike Horton: Yes, marketing can be great but it’s got to be a good product, and you’ve got a good product.

Dave Basulto: Well, thank you, sir, I appreciate that.

Larry Jordan: For film makers that want to use Kickstarter to fund their own projects, as you look back on it, what have you learned? What works? What doesn’t? What should they keep in mind?

Dave Basulto: The big thing is to get something catchy like the video that you’re going to do, that when I start watching the video, it gets to the point right away, especially if you’re a film maker. You want to do a really kick butt trailer or some storyboards or something. Show me what you’re doing. Don’t just be a talking face. I want to see a lot of whatever you’re making, your end product, and what am I going to get out of it? And it’s interesting that you say that, because I was talking with a student about this recently. Ten, 15 years ago, when I was making films, I would have loved to have had Kickstarter – oh my God! You know, it’s such a great platform to raise financing for that and, you know, I would have just done a great little trailer, a little teaser of it, even if it’s just mock-up images that I put together, you know, just to tell the story and then give my game plan, how I plan on distributing it, the casting that I’m trying to get after etcetera, here’s the finished script if you want to read it and then invite people to be extras in the movie, I think that’s a great tie-in. Stuff like that.

Larry Jordan: Dave, where can people go on the web to learn more about iOgrapher?

Dave Basulto: iOgrapher is at We’re on Facebook, we’re on Twitter, we’re everywhere and we’re all over the United States.

Larry Jordan: And the person that invented iOgrapher is Dave Basulto and the website is Thank you, Dave. Take good care.

Mike Horton: Thanks, Dave.

Dave Basulto: Thanks, guys. Merry Christmas.

Mike Horton: Merry Christmas.

Larry Jordan: Bye bye. You too.

Larry Jordan: Well, Michael, you may not have known this…

Mike Horton: I knew it.

Larry Jordan: …because you sleep late, but this morning at 12.28, Apple released a new version of Final Cut Pro 10 and maybe you may have noticed that there was a little bit of talking about it on the web and we thought we would go right to the source itself to find out what’s going on. Philip Hodgetts is the CEO of Intelligent Assistance and involved in technology in virtually every area of digital video. He’s also a regular contributor on The Buzz and, as always, Philip, it’s a delight having you back.

Philip Hodgetts: Thank you for having me.

Mike Horton: Actually, you are two of the only guys on the planet who have had this thing for a while, right?

Larry Jordan: Well…

Mike Horton: I mean, how did that happen, Philip?

Philip Hodgetts: Well, at certain times Apple invite people who need advance notice to their applications to have that access so that they can do things like make sure .xml produced by various applications or read by various applications is supported correctly or so that training can be ready when a version is launched, so for strategic reasons, usually for Apple’s strategic reasons, there are people who are invited to see applications ahead of time; and I have to say that that sounds terribly exciting until you actually are in that position where you know for months that this wonderful thing is coming and you can’t talk about it, you can’t even hint at it. You can’t do anything, you’ve just got to keep this secret from everybody around you.

Mike Horton: All right, so, listen. I have Larry here and I have you here and you guys have had this for a while. I have just downloaded it at 5pm today and I haven’t had a chance to look at it. However, I’ve looked at the web and what people are saying and talking about it, but you guys chime in. What do you think? Do you like it?

Philip Hodgetts: I like it. I like it a lot. There was twice I had to go back to 10.0.9 for presentations during the beta process and it was not a comfortable process, to go back and realize that I’d lost some of the performance I was used to, that things were not as well organized. I very much loved the new library structure, even though it makes our application… well, it gives it no useful function going for it, except it’s the best way to upgrade, so we made it free.

Mike Horton: Yes, we need to talk a little bit about more of that, because it does make a lot of sense to use that to upgrade. Larry, what do you feel?

Larry Jordan: I like it a lot. I did all of my training – I released training about two minutes after Apple released Final Cut 10 – and I did all of my training on a 2010 iMac and I was blown away, on a three year old computer with no special graphics processing, how fast and smooth the new version of Final Cut was. It launches quickly, it plays quickly, I didn’t get any drop frame errors and I’m sitting there doing lots of work, I mean, we did 15 hours of training to 130 movies covering all the new features.

Mike Horton: So did you fill your little library up to the brim, as they say?

Larry Jordan: No. Let me describe for a second. In the old days, you know, back in the ancient past – yesterday – we had event folders and they stored all of our media and we had projects, which stored all of the edits to our media. Well, the events are dead and the projects are changed and instead they’ve replaced it with a brand new concept called libraries.

Mike Horton: Yes, and nobody can wrap their head around that until, I guess, they open it and start playing with it, because I can’t wrap my head around it. I don’t understand what the big…

Larry Jordan: It’s easy, it’s easy and I’ll Philip…

Philip Hodgetts: Kidding? It’s easy.

Larry Jordan: A library holds stuff…

Mike Horton: Yes.

Larry Jordan: …so the library holds your media, library holds your events, a library holds projects, so library’s the big bushel basket that holds everything. Inside the library, you have individual folders, like you do inside any finder, you have a folder. That folder’s called an event. An event can hold media, it can hold projects, so what you’ve got is this big bushel basket container that’s holding everything and instead of having to worry about scratched disks, like we do with Final Cut 7 or where media is stored or whether media’s stored on one event or another event, it’s now put in this one single bushel basket which can be put anywhere.

Mike Horton: Really, it’s that simple?

Larry Jordan: It’s stored anywhere, named anywhere. Oh, it’s amazingly simple.

Philip Hodgetts: Yes it is. You can collect things on your finder, you can collect libraries in a finder folder. For example, I have all of my Enlightened Cook libraries together in a folder, but each library opens independently and it’s a unit of work. It’s very akin to a project in the old Final Cut Pro 7… Premier Pro project which creates apparently one file, but in fact it’s a bundle – there are folders within there and if you open that up, you see that there are still project folders and there are still event folders – and inside that library it looks very similar to what the events and projects did in the past, but there are lots of improvements that aren’t really obvious.

Philip Hodgetts: For example, the merging of events now, when you merge events, they work so much better and, in fact, you can unmerge an event up until the time you close that library. The keywords, when you merge events, keywords are merged much more intelligently, you don’t get duplicate clips, as we once did. So they’ve put a lot of work into that and I think they put a lot of work into the underlying engine.

Philip Hodgetts: I found out today I’ve got a super bonus on my year and a half old MacBook Pro Retina in that Maverick enables this second GPU, the one that I’m not using – this has got a discrete graphics, but it’s got the built in graphics. Maverick’s enabled that so that the second graphics card can be used for open CL processing, or Final Cut Pro 10.1 does take advantage of that, so that’s part of the reason why I’ve seen a performance increase on the exact same computer.

Mike Horton: Yes, I don’t think anybody’s bitching and moaning about performance increase. In fact, a majority of people have said that, for the little time that they’ve worked with it, that the performance increase is huge and we don’t know what it’s going to be like with the Mac Pro, but one can assume it’s going to be very, very good.

Larry Jordan: Now, Philip, unless Apple has loaned you a dozen Mac Pros over the last couple of weeks, you probably haven’t done any Mac Pro testing. But before we shift to the Mac Pro, I was just realizing one of the big challenges that we’ve got with the new version, to go from 10.09 to 10.1, is this concept of upgrading our events and projects, because it’s got to get converted from the old version to the new version and, of all the things that are going to cause confusion, I think that and basic media management are going to be what drive people nuts.

Larry Jordan: Describe for me how that upgrade process works and, more importantly, where does this leave your application, Event Manager 10?

Philip Hodgetts: Right. That’s a very good question, because Apple does have a fairly reasonable default upgrade. It’s reasonable if you have organized everything by drives, so if you have a single drive per client, that will probably upgrade reasonably well because the default is to upgrade everything on a drive into one library. But sadly what happens is that every project goes into an upgraded projects event so that you then have to sort of work out which events go with which projects as you drag things back into your new libraries and reorganize your life again.

Philip Hodgetts: For people like me, who use a RAID with multiple different projects that have been using Event Manager 10 to switch between clients and switch between jobs, that’s not a very good upgrade part and what I realized very early in the time I used it was that, while Event Manager 10 has no future role, it has a perfect role in upgrading because it allows you to activate just the events and projects that relate together, like… if you’ve been using… but you don’t have to, and then do a single upgrade to upgrade that into a library using Final Cut Pro 10’s default mechanism, label that library and then repeat for the rest of your projects and events and you’ve got a reasonable set of libraries.

Philip Hodgetts: It takes very, very little time; the way that Apple upgrade is brilliant and technical and I won’t go into it right now because we need to talk about the Mac Pro.

Larry Jordan: Well, just a really important note – the upgrading only has to be done once. You need to pay attention to what the upgrading is and, Philip, you’ve got a White Paper on upgrading and I’ve got an article on my website. I strongly recommend, before you click the ‘Update all’ button, read Philip’s White Paper, read the White Paper on Apple’s website or read the Media Management paper on my website, because it’s going to keep you out of trouble. Really, it’s important, you need to read it. Philip, where’s the White Paper for you?

Philip Hodgetts: It’s right at the top of the site.

Larry Jordan: Ok, so we’ve got and your White Paper and Event Manager 10, which I swear by.

Mike Horton: But by this time next week, it’ll be at the bottom of the site because Philip will be writing many more.

Philip Hodgetts: Well, no… a post to the top of my blog, so that’s going to stick there for a little while.

Mike Horton: Oh, ok.

Larry Jordan: I don’t want to scare people, but you do want to read it because it’s important.

Philip Hodgetts: It will make your life so much smoother. It’ll make the transition much more comfortable. I have upgraded whole drives by mistake and I’ve just undone it, re-did it and started over.

Mike Horton: Yes, actually my son, who has been taking an editing class at Santa Monica City College, upgraded to 10.1 in the morning, at two o’clock in the morning or whatever, and he did not read your article, unfortunately. He read it after he upgraded and he had a lot of media on his machine and he just pretty much did it by hand and did a lot of drag and dropping and it worked fine.

Philip Hodgetts: I also should remind people of the consolidate media function in Final Cut Pro if you want to bring media from disparate places back into an event or a library in this case. There is a consolidate media command to do that and I did a little bit of that to make sure I had everything together.

Larry Jordan: I want to work in the Mac Pro, but one quick note that I want to emphasize, is that if you’re in the middle of a project, don’t upgrade to the new version. Finish the project, then update, and just get that out. Just make your life easier. Finish the project, then do the update. Philip, what about the Mac Pro?

Philip Hodgetts: I would love to be able to justify buying one, but I do hope to have my hands on one very shortly to be able to do some testing, but I think it’s going to be a screaming new thing for Final Cut Pro. I think we’ll finally see the reality of comfortable editing of 4K on the desktop. I mean, Final Cut’s always supported 4K, but perhaps we haven’t really and it’s actually performed pretty well on my MacBook Pro. I was running real time Red Draw in a timeline scale for the Digital Cinema Society two weeks ago and it was working fine, but I think what we’ll see is that really working in 10K is – 4k, yes, it’s not 10k already – 4k is…

Mike Horton: Yes, 10k.

Larry Jordan: Is it 10k already?

Philip Hodgetts: …a much more pleasant experience in 10.1 than it was in 10.09, where I probably would have just used Proxy after ingesting, anyway.

Mike Horton: If an editor can’t afford to buy the fully loaded system, and if he can you can buy one for me, but if you can’t, where should you spend the money? Where would you put your dollars?

Philip Hodgetts: I would take the hint from Apple about the constant mentioning of dual GPUs. I would max out my GPUs. I’d either go to 32 gig of RAM for my Apple, which is not unreasonably priced, or I’d think about minimizing my RAM purchase and look at Crucial for that, and I would probably go with the… core processor, simply because…

Mike Horton: The which one? The six core?

Philip Hodgetts: Yes, well, I think it’s eight and 12. I’d actually go with the eight, sorry.

Mike Horton: All right, the eight.

Philip Hodgetts: The eight, yes. The 12 is probably not going to benefit from the sort of apps that we’re using so much and we’re getting a lot more use across Adobe, across Resolve – or at least Premier Pro, anyway. We’re going to get a lot more use of that dual GPU. Adobe Media Encoder already uses the second GPU, if it’s present, to background render. So there’s a lot of support for dual GPUs and so that’s the one place where I would not scrimp. I’d go with the D700 card.

Mike Horton: Well, I don’t know if you’ve seen the prices for the eight core, the maxed out eight core, I think it’s under eight or around seven something.

Larry Jordan: Yes, the system I specced was around 66. Philip, I would disagree with you on just a couple of things. I would not get as much RAM, because we can after market that later, so I would max out the GPUs and I would get the eight core – I agree with that – and I’d get about 16 gig of RAM, because it can always be added later.

Larry Jordan: What I would spend the money on is the stuff that can’t be replaced. Also, I would not spend and get the terabyte flash drive unless I’m doing…

Philip Hodgetts: No, I would go with the five core on the flash drive.

Larry Jordan: And I looked at my system and I’m running with less than 200 gigs of storage on mine, so I would either go 256 or 512 on the flash, 16 gigabytes on the RAM and buy the max GPU, because we can’t swap that out once you’ve bought the system.

Mike Horton: Oh, so you’re probably talking less than $6600 to max out the A core. Were you talking about six or 59 or something like.

Larry Jordan: Yes, I think so, because…

Mike Horton: That’s a pretty dang good price.

Philip Hodgetts: It is, and I think the pricing overall is much better than what I’d hoped for and not as much as I’d pessimistically expected. I think if you’re going to work with HD, the 16 gig is probably a good starting point but I do want to note, though, that the GPUs are actually socketed. That’s probably for Apple’s convenience so they can socket in a 500 or a 700 card during the build to order process, and although it’s a… that nobody else uses, it is certainly plausible that in the future we’ll see upgradable GPUs for that device.

Mike Horton: Yes, save all your money for all those externals you’re going to be using to plug into that thing.

Larry Jordan: On the other hand, you know, you don’t want to bet the ranch on something that nobody’s talked about, so be careful on that socketing.

Philip Hodgetts: Yes. Oh no, it’s just that it’s, yes, it is socketed clearly in the images, but that’s probably for Apple’s convenience, not necessarily ours.

Larry Jordan: Let’s just go through one more time, where can people go to learn more about what you’ve got and what they need to pay attention to?

Philip Hodgetts: or

Larry Jordan: That’s all one word – and – and Philip Hodgetts himself is that cheerful voice at the other end of the telephone. Philip, take care. Thanks so much for joining us.

Philip Hodgetts: Thank you.

Larry Jordan: Bye bye.

Larry Jordan: Sean Mullen is the head of Rampant Design Tools. He’s an Emmy award winning visual effects artist with over 60 feature film and television credits, including Charmed, Buffy the Vampire Slayer, Ali McBeal, ER, Nip/Tuck and many others. His company, Rampant Design Tools, specializes in creating original drag and drop visual elements for editors and visual effects artists and, as always, it’s a delight having him back. Hello Sean.

Sean Mullen: Hey, Larry and Mike, my two favorite people on the planet. How are you guys?

Mike Horton: Well, you’re one of ours.

Larry Jordan: You know, just to be able to say it with that much cheerfulness just woke Mike right up. He’s just sitting there in his chair, just looking calm and relaxed and – boom! – he’s got posture again.

Mike Horton: Yes, it’s what I love. I love your introduction when you talk about drag and drop. That’s what I love about Rampant Tools, you just drag and drop. Awesome.

Sean Mullen: That’s great to hear, thanks.

Larry Jordan: So, listen, dude, I understand you’ve launched something new and I have been a bit distracted the last 24 hours. What’s the hot news?

Sean Mullen: Well, I guess the big thing that we’ve launched that’s really new is our new extreme drive. We’re now launching all of our products on customized drives, USB3 drives, and they can go with you wherever you go, so they’re portable, they’re BUS powered and they’re pretty darn fast. You can get the entire library right now for 80 percent off if you buy our extreme drive, so you can walk around with about 650 gigs worth of Rampant drag and drop goodness and take it on set, take it to whatever job you’re working at, and it’s pretty convenient.

Mike Horton: Oh man, because I’ve got your library, which fills up an entire shelf…

Sean Mullen: Oh yes. Oh yes.

Mike Horton: …of DVDs and that drive thing is an absolutely brilliant idea.

Sean Mullen: We’ve got to send you a drive because gone are the days of having a client come in and you point to your shelving unit full of all kinds of great stuff. Next to your Digibeta deck you’ve got tons of stock content. That’s all gone and, you know, the great thing about our stuff is we are platform agnostic and deliver everything on QuickTime, but the con of that is it takes up a lot of space so, like I said, if you do have our whole library, you’ll be close to 700 gigs of storage that will be taken up by using our stuff.

Mike Horton: Don’t send it to me. Larry’s going to give it to me for a Christmas present.

Larry Jordan: I’ve already purchased it.

Sean Mullen: Sweet.

Larry Jordan: Wrapped with a red bow around it.

Mike Horton: Exactly.

Sean Mullen: It’s a great stocking stuffer.

Mike Horton: Exactly.

Larry Jordan: Yes, absolutely, and it’s addressed to Mike. It’s got an invoice attached to it, it’s great. You say you’re platform agnostic. What codec are you delivering this? It’s a QuickTime movie with what compression?

Sean Mullen: Right now, up until this point, it’s been a myriad of different codecs, just whatever was right to not only not compromise quality but also be able to get you a relatively quick download. But now that Mavericks is throwing us a slight bit of a curveball, we’re starting to release everything basically in ProRes 422, 444 and 4444.

Mike Horton: Wow.

Larry Jordan: Do we get to specify what the format is, or we get three versions of every file?

Sean Mullen: If you download a product in your list inside our site, it’ll tell you this is the photo .jpeg version or this is the ProRes version. You can download whatever you like. On the drive, we give you everything so you can choose on the fly.

Larry Jordan: Eric in our live chat is asking whether you’ve got plans for more 4k stuff and what do you have that’s 4k now?

Sean Mullen: We have a couple of things that are 4k now. I can’t get into too much but I am going to say this – I’m going to meet and exceed those demands by NAB, this upcoming NAB show. We are going to release something…

Mike Horton: April?

Larry Jordan: April?

Mike Horton: We’ve got to wait? Oh jeez.

Larry Jordan: Sean!

Sean Mullen: We’ve got something so big, it’s going to be amazing. I promise, it’s totally worth the wait. It’s mind-blowing. I just got off the set of one of our fire shoots today and it’s sick.

Larry Jordan: Oh, all right. Well, what have you got that’s high res now?

Sean Mullen: Our only 4k product right now is called Film Effects and it’s light leaks and film grains and things like that, but I can promise you we are going to, because Apple approached us and asked us, “Hey, if you’re going to have 4k content, we’d like to get our hands on it,” and I said, “No problem.” Any time Apple calls you, you go ahead and cater to them, so we’re going to give them a bunch of stuff, but let me just say that 4k is not the highest resolution that we’re developing at this time.

Mike Horton: Wow.

Larry Jordan: Oooh, all right. And we have to wait until April and you’re not going to tell us now?

Sean Mullen: Yes, I can’t say so much because I’ve got a lot of competitors watching and waiting and trying to figure out what we’re doing, so I’ve got to keep a little bit quiet.

Mike Horton: Every time Sean says something about competitors listening and watching, I just go, “Oh gosh.”

Larry Jordan: What cameras are you using to shoot with? Are you using just one camera or are you using a blend?

Sean Mullen: I have different tools for different jobs. We have a Blackmagic 2½k, which is a great little workhorse, and we also have an Epic.

Larry Jordan: And tell me what it’s like to shoot the Blackmagic.

Sean Mullen: I was really surprised when I first opened it. It’s a pretty amazing little camera and the SSD workflow is great. I love working with Resolve. It’s pretty amazing to get basically a raw workflow in such a small little camera. It took a little bit of getting used to – it’s not like any other camera system I’ve ever used.

Larry Jordan: That’s true, it isn’t. It’s not weighted like any other camera system I’ve ever used.

Sean Mullen: That’s true. If it’s a windy day, it’ll definitely hold anything down. But it’s great, I love it.

Mike Horton: Well, you can’t beat the price.

Sean Mullen: No, especially when they dropped it down to 1900 bucks. I was like, “Good gracious, I need to get four of these,” but yes, it’s a great camera.

Mike Horton: And finally the 4k, Graham Petty just uploaded some footage up on the forums and it’s going to now be release, I believe, in January or something like that. I know it’s been way, way late.

Larry Jordan: I saw the footage, I haven’t seen the release date.

Mike Horton: Well, it’s not Raw footage.

Larry Jordan: No, it’s ProRes.

Sean Mullen: Yes, it’s ProRes, right, it’s ProRes, but it looks gorgeous.

Larry Jordan: Are you shooting ProRes or are you shooting Raw with the camera?

Sean Mullen: We do everything in RAW. With the second camera, we use a 5D with a Ninja 2 on it, just to get RealTime playback on set, just to kind of document things. You can play back RealTime on any of the camera systems we have, but we use it just for indexing. But we do everything in DNGs or Red RAW, depending on which camera system we’re using.

Larry Jordan: What have been some of the popular effects? What’s got people excited?

Sean Mullen: Well, I know you don’t like this one, but Monster Effects was a pretty huge hit, but I’ll go onto the other stuff, the light stuff, the not so eerie stuff, like our lens effects and any of our light based elements, people seem to love it. It’s a real hot trend in most commercials and productions you see, so adding a little light leaks and subtle real flares, not digital flares but real lens flares, people seem to really like that.

Larry Jordan: Now, the way people work with your footage is they don’t just simply use your footage as ClipArt. They take their own video and then they overlay your video on top of it so that you’re adding elements on top of somebody’s existing footage. Is that correct?

Sean Mullen: Correct, correct. We typically offer everything where you need to blend it in, so if you have a great shot of an actress or an actor and you want to add a little bit of subtle color or light, you drop it on and, because most of our content is optical, it looks like it was intended for that particular shot.

Mike Horton: Yes, it’s really cool. It’s like brain dead simple.

Larry Jordan: That’s my kind of special effects, because if I have to draw anything, man, I’m in serious trouble.

Mike Horton: He did this for Michael Horton. That’s why everybody loves it.

Larry Jordan: So is this stuff affordable? Or do we need to be Dreamworks to be able to write you a check?

Sean Mullen: Oh, no, no, no, no, no. Everything we offer is under $100 per… and we’re always having sales. Like right now, we’ve got a sale that is 60 percent off, or if you buy the drive, the extreme drive, you get everything for 80 percent off, which I think it comes out to $14 of volume, so you really can’t beat that when you’re talking about almost 9,000 clips.

Mike Horton: Now, I’m assuming the drive’s searchable, right? I mean, we’re getting everything in there, so you make it really easy to find the stuff.

Sean Mullen: No, no, I just put everything in one giant folder and just said, you know, “Have at it,” you know? No, no, no. No, everything’s well organized and…

Larry Jordan: You’ve seen Mike’s organization system.

Mike Horton: Yes.

Sean Mullen: Yes, they’re all labeled ‘Untitled Movie 01’, ‘Untitled Movie 02’, you know.

Larry Jordan: Mike has got sticky notes all over his screen saying, ‘Open this folder here’. It’s pretty amazing to watch him work.


Mike Horton: Well, I get people to talk about it. It’s a good marketing thing.

Larry Jordan: By the way, what does the hard disk cost? In other words, if I’m buying the entire collection, what am I spending?

Sean Mullen: The entire collection is on sale right now for $999.

Mike Horton: Holy crap!

Larry Jordan: $999? Wow.

Sean Mullen: Mhmm. That’s over 80 products, a little over 9,000 clips and it’s all under a grand.

Mike Horton: That’s amazing, and it’s such good stuff.

Larry Jordan: And for people who want to spend $999 in your direction, what website do you recommend they go see?

Sean Mullen: That would be

Larry Jordan: That’s all one word – It’s a world of effects software – Rampant Design Tools and Sean Mullen is the CEO and Lead Creative for Rampant Design Tools. Sean, thanks for joining us today.

Sean Mullen: Thanks, guys. Happy holidays.

Larry Jordan: Take care. You too.

Sean Mullen: All right, bye bye.

Larry Jordan: You know, normally at this time, a hush falls over the crowd…

Mike Horton: Should have kept that music playing because I’m starting to tap my toes.

Larry Jordan: …and Michael normally steps up in front of a microphone, but he is just a technology maven. He’s surrounded by computer screens. There’s, like, six glowing four foot screens surrounding him and he’s…

Mike Horton: Pick up my iPhone, do a 120 frames per second movie of me.

Larry Jordan: What’s the world been talking about with the Mac Pro and Final Cut?

Mike Horton: Well, yes, because I know you haven’t slept and you haven’t had any time to actually look at what the world is saying. You know, everything that Apple comes out with, it takes a while to come out so everybody has these hopeful ideas.

Larry Jordan: Are you saying people are filled with opinions?

Mike Horton: Yes. Yes, there are a lot of people that think, “Well, it’s been, what, a year since the last upgrade.”

Larry Jordan: November. It’s exactly a year.

Mike Horton: Yes, exactly a year, and so they were expecting a lot more and they say, “This is what we get?”

Larry Jordan: Well, what did they want, world peace?

Mike Horton: Maybe. One of the biggest issues that people keep talking about and they can’t quite get their head around is sharing.

Larry Jordan: Interesting.

Mike Horton: Now, what was the problem with the old way that everybody could not get their head around? I mean, let’s talk about a guy who’s got a six bay edit system. He’s a post production house.

Larry Jordan: Ok, well, time out, time out, time out.

Mike Horton: Ok.

Larry Jordan: Two different things. To export and to share are two different things. To export means to get a file out of the system; share means to export the file and send it somewhere, to YouTube or CNN or Facebook. What he’s asking about is collaboration. If you’ve got media and you need to share that media, move that media between multiple systems.

Mike Horton: Correct.

Larry Jordan: The way that Final Cut 10, all versions, including 10.1, the way that that’s configured is that if the media is stored on a server, then the media can be played by anybody at any time across multiple systems. The old events and projects are stored locally, but media can be shared easily as long as it’s on a centralized server, and Final Cut is optimized to be shared via an XAN network, Where it is not optimized is if machine room one has the media and machine room two needs it and it’s on a local drive on machine one – machine two can’t get access to it and now you have to move files around. But if you’re on a centralized server, you can share media with no problem between systems.

Mike Horton: Well, there’s no difference between 10.1.

Larry Jordan: Correct, in that case there’s no difference.

Mike Horton: Right, so I don’t quite understand this, but a lot of people don’t quite get their head around this thing called sharing. But the biggest bitching and moaning is, as usual, they were expecting more.

Larry Jordan: Well, I’m shocked to hear that.

Mike Horton: Well, speaking of more, were you expecting more, considering the fact that it was a year? However, when Phil Schiller gave his little speech when they introduced the Mac Pro, pretty much said that Final Cut Pro was going to be optimized for these dual processors and nothing more, so that’s what we’ve got.

Larry Jordan: I think there’s a lot of work. I’ve had a chance to chat with some of the people at Apple today to get some additional briefing on both Final Cut and the Mac Pro and there’s a ton of optimization to make the application faster, not just for the Mac Pro but for all Macintoshes. So first, speed; second, taking advantage of Mavericks. I think they finally hit on a winning formula with Media Management. The new library is just vastly superior.

Mike Horton: Yes, it sounds so simple. It was why didn’t you do that in the first place?

Larry Jordan: It’s so clean, so simple, it makes life so much easier.

Mike Horton: Because events and projects were confusing.

Larry Jordan: And the fact that you had to quit out of Final Cut to be able to change an event and quit out of Final Cut to change a project. It was awkward, and that’s being polite. But what I’ve done is, as I was going through and doing my training and totaling up all the different features that are there, there are almost 200 different features from the bill of the C used media to the ability to change re-timing, fit to fill edits, improved trimming, a better razorblade. I mean, the list goes on and it’s some small stuff, but in all cases it just makes it faster to get the editing done. I’m very pleased.

Mike Horton: And, of course, you cover all this on your website, Apple covers it somewhat on their website in depth with a list of all the new features and new shortcuts.

Larry Jordan: Oh, and Eric on our live chat says Compressor is unrecognizable. Compressor now has the same interface as Final Cut and, by this time next week, I’ll have the training finished on Compressor 4.1.

Mike Horton: Yes, we haven’t even talked about Motion 5.1 or Compressor 4.1.

Larry Jordan: There’s just a lot of stuff to talk about.

Mike Horton: Yes, I just saw a screenshot of Compressor. It is unrecognizable, you’re absolutely right, Eric.

Larry Jordan: There’s so much to talk about. Mike, we’re going to have to bring you back next week. Oh, we’ve got such a show next week, the day after Christmas.

Mike Horton: Yes, next week’s Christmas.

Larry Jordan: It’s going to be great.

Mike Horton: Are you having me over for turkey? Have you got me a present yet?

Larry Jordan: No, you’re the turkey.

Mike Horton: Jane’s right over there, she’s just given me a bottle of wine.

Larry Jordan: Just shush, people are talking and that’s me. Anyway, Norman Hollyn I want to thank, he’s a Professor at the USC Film School of Cinematic Arts; David Basulto is the teacher and inventor of the iOgrapher; Philip Hodgetts, the President of Intelligent Assistance; Sean Mullen, the CEO and Lead Creative for Rampant Design Tools. A great group of people.

Mike Horton: Could you get me one of his drives? Really, seriously, it’s only $999.

Larry Jordan: And I can’t think of a better person to give a $999 gift to.

Mike Horton: Is me.

Larry Jordan: Than you. You were the first person that sprung to mind when I thought of spending.

Mike Horton: Yes, we’re so close I can finish your sentences.

Larry Jordan: There’s a lot happening at The Buzz in addition to Mike finishing my sentences. Between shows, visit and click ‘Latest news’. We update it several times a day with all the latest news in our industry. Visit with us on Twitter, @dpbuzz, and Facebook at

Larry Jordan: The music on The Buzz is provided by SmartSound. The Buzz is streamed by Our producer, the ever beautiful Cirina Catania; our engineer, Adrian Price. On behalf of Mike Horton, my name is Larry Jordan and thanks for listening to The Digital Production Buzz and have a wonderful holiday.

Mike Horton: Merry Christmas, everyone.

Voiceover: This Digital Production Buzz was brought to you by Blackmagic Design, creators of the world’s highest quality solutions for the feature film, post production and television broadcast industries.


Share the Episode