Tag Sam Mestman

Tag Sam Mestman

Secret Genius for Spotify • An FCPX Workflow

April 16, 2018 Tags: , , , , , ,
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In this exclusive interview, FCPWORKS chats with Ben Jehoshua from Brian Graden Media. Ben recently directed the debut season of Secret Genius, a Spotify documentary series about singer-songwriters. The project was also the first piece of original video content for Spotify and was produced using Final Cut Pro X and Lumaforge’s Jellyfish. 

Describe your overall responsibilities.

I’m the Senior Vice President of Development at Brian Graden Media. I run our internal production studio called BGM Studio and work on sizzle reels, presentations and pilots. Over the last couple of years, we’ve developed well over 150 projects. I also directed a feature film and I’m working with two teams right now to write new projects, some of it low burner/long-term kind of stuff. We’re also representing one of my personal projects, which is a suspense thriller feature film.

What’s your production background?

I’ve been filming since I was very young and growing up in Israel. I was also teaching younger kids how to shoot video and edit. Then I came to Los Angeles to attend film school at Columbia College in Hollywood and later started my career as an editor. I worked on TV shows like Unsolved Mysteries, Disney’s Shark Attack and Intimate Escapes for TLC. I was an editor for years and then started my own production company with two other partners, one of whom is my brother, Judah Jehoshua. We did a lot of stuff for Mattel toys like Barbie Hot Wheels, Brats and tons of kid’s commercials. Also corporate video for tech companies like Intel, Microsoft, IBM; car companies like Honda, Hyundai, Toyota. That was our bread and butter for years until we started doing developing a project called Geek My Pad.

And I showed it around to my contacts and they said wow, you’re really good at this presentation thing. One thing led to another and I worked on a few projects in the industry that did well. I was directing, producing and editing presentations for a while until Brian Graden and I worked together and then we started this internal division at Brian Graden Media.

Was Secret Genius something you originally pitched to Spotify?

It came from one of our SVP’s, Jeffrey Wank and it was his passion project. For years he’s been going to these songwriter conventions and been learning about the stories behind the songs. So it was a project we pitched in other places around town. And strangely enough, when we went to Spotify they already wanted to do something very songwriter focused and pay homage to all these amazing songwriters that are featured on their platform. So it was good timing. We looked at the budget and the resources that they were giving us and it just made sense to do it internally with my team. I created a lot of presentations that kind of went back and forth until we settled on the creative with Spotify.

Was the length of each episode predetermined?

It came out organically, because other than the storytelling, the format also includes an unplugged performance where the songwriters perform their own music at the end of the episode. We knew that would be three to five minutes depending on the song. And then we sort of reverse engineered it from there and wanted to keep it between five and eight minutes for the story portion. But one of the challenges was how do you have one person in a very intimate storytelling format? And also how do you integrate the photos from their past and names of the songs and lyrics? That was the most interesting part of this to work on creatively.

Were the guest subjects mostly established or brand new artists?

Very well established, like Justin Tranter, Priscilla Renae and also Poo Bear who writes for Justin Bieber. So we were always pleasantly surprised by how as you’d talk to somebody, you just would realize how prolific and amazing their work is. Our showrunner Georgi Goldman really did a deep dive into their stories and I’m very proud of being able to work with her.

Did Spotify want to start with just a pilot or shoot the entire season at once?

They went for the entire season from the start, 10 episodes. One of the challenges Georgi and her research team had to overcome was scheduling because these songwriters are ultra-successful people with very packed schedules. So it was a little bit like herding cats to bring everybody onto the soundstage. We shot two episodes a day over a one week shoot on a soundstage. Everything had to be very tight and scheduled correctly.

Describe the production.

Everything was filmed in 4K on four Sony FS7’s. And the interesting part was that Spotify came to us about five days before the shoot and said, we might just broadcast this at a 9:16 aspect ratio on our app on the phone and even if we don’t, we would like everything to be formatted so it’s both landscape and portrait, so make sure nothing hits outside of the assigned 9:16 area for portrait viewing on a phone.

So that threw a very challenging wrench into our production and we decided to mark all the monitors on set. Every single shot was carefully planned to not stray outside of the 9:16 portrait area on our monitors. The creative called for lots of camera motion and also moves in post. We want it to be constantly moving and zooming even if it’s digitally and the interesting part of the creative is one of our cameras was outside of the stage window that we built and the intention was always to track graphics and images from the songwriters past, whether it’s a performance or childhood pictures or whatever the creative called for to track it on to this window that we built into the set. So that was a challenge because we also knew that we needed to show these images in landscape and also make them work in portrait.

And where did you shoot?

We were Glendale on a soundstage for five days. We had a couple of prep days and a breakdown day at the end. The set had this massive chandelier and enormous crystal disco ball. Just mounting that was a challenge because we really tried to go for a specific look.

What was the timeframe from completing production to delivering the entire season? 

We actually staggered the delivery because there were so many people approving the stuff both internally and externally at Spotify. Episodes one, two and three were released together first and then the rest were released in clusters of two or three. Spotify also commissioned a format from us that we referred to it as a living playlist. It’s a 30-minute audio playlist that incorporates our footage. Whenever the songwriter mentions a particular song, that song starts playing and then a few other songs from that songwriter follow. So it’s almost like a premium vlog by that songwriter, direct to camera.

Which tools did you use in post-production? 

Our internal team has been working on Final Cut Pro X since version one. Our editors got really fast on it and we were talking about using it because we’d developed a sensibility with our editors and we love them. They didn’t want to move to Avid and get bogged down.

We wanted to use the LUT our DP Neal Brown created on set and do some moves digitally all in 4K. We also brought on two additional Avid editors. They were very well accomplished on big shows and I was kind of dreading the conversation with them about working with Final Cut Pro X. But they were actually familiar with it, they had just never dived in with it on a professional project like this with deadlines and lots of people touching media.

After that, we needed to iron out the kinks in our building because we were initially on an Avid Isis media server and that was not fun. Then, Lumaforge came in with the Jellyfish and solved our issues and the editors got so addicted to it and flying on the system. It was kind of a joy to see Avid editors meld into Final Cut Pro X.

We had three story producers, our showrunner and two graphics graphic artists. In total, there were eight people working simultaneously off of the Jellyfish, four stations on 10 gig and four stations on 1 gig, which was seamless and flawless. The capacity of the Jellyfish was 36 terabytes but we only used about 18-20 terabytes. We cut everything inside of Final Cut Pro X and did the animation in After Effects.

How did you first hear about Lumaforge? 

We did a little demo back when they were in Culver City. We went over to check them out because we heard they had a shared server optimized for Final Cut Pro X. So we bought version one for our internal development team. Honestly, I turned it on once and then about a year and a half later I realized I had never turned it off but it was just working. Then we rented another Jellyfish for Secret Genius and ended up buying that one as well. Sam Mestman and everyone over at Lumaforge has been amazing, some of the best support I’ve ever had.

What was the final delivery for Spotify?

We finished as much as we could inside Final Cut Pro X including the initial color correction. With Neal’s LUT, the main work was to just make sure the levels are all set within the waveform. We did our final sound mix at a post house in New York.

How does Spotify measure the overall success of a show?

The digital world is ever-shifting and people are really trying to find the meaning of success, especially in a subscription-based service like Spotify. They haven’t told us what the viewership is and it’s also still very much fresh and new episodes are still coming online at this moment. I do know that their number one initiative is Secret Genius songwriting songwriter outreach. It’s very important to them culturally as a company to reach out to songwriters. We get new pieces of information every week and we’re certainly proud to be a part of their first push into media.

How would you compare delivering a project for a streaming subscription service to a more traditional broadcast workflow? 

Brian Graden Media has been in the forefront of the production on digital for a few years now. We haven’t watered down our delivery process and one of the key reasons is a lot of the linear people have been migrating over to digital. So, they bring with them the expectations for high quality and expect top-notch color correction and sound mix. The key differences are that the air date can get a little flexible and the running times, because we don’t have to put the commercial breaks in between the content or adhere to a specific length.

If Spotify requested a second season, would you change your approach?

We enjoyed the process so much and everybody got emotional at the end of the week because it was such a great subject to get immersed in. The crew was spectacular, so I wouldn’t change a thing when it comes to the shoot. Honestly, I don’t even know how we would’ve finished this show without the magnetic timeline in Final Cut Pro X. We were getting things like crazy and just flowing so nimbly and quickly on cuts and that was that was really cool. And it’s also just a powerful workflow.

Is producing for streaming really popular now?

It’s not quite the Golden Age of streaming just yet. For us, it’s definitely still starting because we have our development meetings and we’re excited about digital and anything that’s cutting-edge and new. I think everybody’s trying to figure it out every week and often when we look at our digital networks we’re surprised to find that one of them folded or another one has popped up and the network needs are so vastly different. I think it’s a great time to do what we’re doing and it feels like the ground is shifting a lot.

Is there anything, in particular, you’re keeping an eye out for in terms of industry trends?

I’m always fascinated with workflow, for example, we recently installed Transcriptive from Digital Anarchy which does automated transcriptions. I’m always kind of guilty of adopting things a little early. I’m not an excitement junkie or anything, I just love the technology and I’m always trying to be tuned in. I love to see what’s new with editing and who’s forging forward and creating new workflows.

Apple Presos from LACPUG – Final Cut Pro X 10.3

December 13, 2016 Tags: , , , , ,
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FCPWORKS was honored to co-produce a very special LACPUG event with Michael Horton featuring Apple itself presenting the latest features of Final Cut Pro X 10.3 and the new MacBook Pro with Touch Bar. This took place on November 30, 2016 at the Barnsdall Gallery Theatre in Hollywood.

First up, this clip showcases tons of new features and workflows with Final Cut Pro X 10.3 being used in the production of a profile of Japanese botanical artist, Azuma Makoto:

Use these links to see a specific highlight:

Next, this clip showcases 10 tips and tricks for Final Cut Pro X 10.3:

Use these links to jump to a specific tip:

  1. MXF Wrapped ProRes
  2. Continuous Playback
  3. Fade Handles
  4. Searching for Metadata types in the Timeline Index
  5. Dual Rolling Trim for Connected Clips
  6. Fast Vertical Navigation
  7. Multi-clip trim to Start,End,Playhead
  8. Source Timecode Effect
  9. Use iXML to Automatically Create Audio Roles
  10. Voice Over Automatically Assigns Role
  11. Full Height Inspector

Ok technically that was taking it to 11 tips…

Following the Apple Presentation, our own Sam Mestman presented a comprehensive soup to nuts Final Cut Pro X shared storage workflow featuring the Lumaforge Jellyfish. To see that video, please visit this link.

FCPWORKS couldn’t be more proud to help showcase not only Final Cut Pro X itself but also some of the behind-the-scenes stars from Apple itself demonstrating the software’s awesome capabilities. Bookmark this site for the latest FCPX workflows and news. To learn more about FCPWORKS and how we can help you, please visit this page.

final cut pro x 10.3

FCPX Focus Roundup

March 3, 2015 Tags: , , ,
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Hey folks,

There was a little movie called Focus that just got released which was edited using FCPX. I was lucky enough to be part of the team that made that happen. Just wanted to send out a huge congratulations on the release to Glenn Ficarra, John Requa, Jan Kovac, and Mike Matzdorff (and everyone else who was a part of post). It was a long journey and a fun ride. It’s really rare that you see people with the courage of their own convictions to go against the tide, trust their own instincts, take a risk, and be willing to take the plunge with an unpopular idea… so the real question is… was it worth it and should they have done it?

I think the easiest way to answer that is that the guys are already off making another movie based on the workflow Focus was made with… so obviously it couldn’t have been that bad.

FCPX is ready for prime time, guys… regardless of what some of your friends might tell you. If you want to see some really good reasons why, you’re going to want to check out what we’re doing with the FCPWORKS NAB Suite this year. Among a whole lot of other things, we’ll have Mike Matzdorff in for a session to talk about the workflow from Focus, as well as a whole bunch of other case studies and panels centered around FCPX workflow.

On top of that… things have not stayed the same in the FCPX world. The story of Focus is a snapshot of where workflow was a year and a half ago. A lot of has changed, and if you’re an editor or a facility who’s looking to upgrade your tools and leverage them in the smartest way possible, well, that’s why we exist here at FCPWORKS. Drop us an email at workflow@fcpworks.com if you want to know more.

Anyway, in the spirit of the release, I figured I’d post a series of relevant links about the movie if you want to get caught up:

Please keep watching this blog for more details about this important milestone in the development of Final Cut Pro X and check out:

http://www.fcpworks.com/nab2015/

ABOUT THE AUTHOR

Sam Mestman

Sam Mestman, FCPWORKS.

This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system, drop him an email at workflow@fcpworks.com and you can follow him on Facebook or Twitter at @FCPWORKS.

More on the FCPX Focus Workflow

March 2, 2015 Tags: , , ,
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More about the FCPX Focus Workflow in part one of an excellent piece from FCP.CO’s Peter Wiggins.

"Jan [the main editor] told me at the meeting that he was thinking of cutting a film on FCPX and I didn’t really understand the scope of what he was planning! I’d already cut a film myself on FCPX 10.0.8 and on that basis I ended up becoming a consultant on the project."Sam Mestman FCPWORKS

Please keep watching this blog for more details about this important milestone in the development of Final Cut Pro X and check out:

http://www.fcpworks.com/nab2015/

ABOUT THE AUTHOR

Sam Mestman

Sam Mestman, FCPWORKS.

This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system, drop him an email at workflow@fcpworks.com and you can follow him on Facebook or Twitter at @FCPWORKS.

The FCPX Focus Workflow

February 25, 2015 Tags: , , ,
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FCPWORKS gets a nice shoutout in the long-awaited official Apple In-Action Story about Focus featuring Final Cut Pro X.

"There’s no mysterious industry tool or process anymore. The bottom line is that all of these deliverables can be created from your living room. With just a few third-party apps, you can easily take your media through Final Cut Pro X to 4K output. So anything the big guys are doing, you can do too."Sam Mestman FCPWORKS

Check out the rest of the story about the FCPX focus workflow on Apple.com:

http://www.apple.com/final-cut-pro/in-action/focus/

Want to know how we did it? Please keep watching this blog and check out:

http://www.fcpworks.com/nab2015/

ABOUT THE AUTHOR

Sam Mestman

Sam Mestman, FCPWORKS.

This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system you can follow him on Facebook or Twitter at @FCPWORKS.

FCPWORKS Secret Sauce: Sync or Multicam Clips

February 23, 2015 Tags: , , ,
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New secret sauce all about whether you should be using synchronized or multicam clips in your workflows (I’ll spoil it – use multicam)… especially when it comes to trying to sync multiple audio sources to the same video clip. This can happen occasionally… especially in music video or if your sound guy screws up and exports microphones as individual files instead of a single multichannel WAV file (as you’ll see in the tutorial example).

You’re going to have all kinds of problems doing that unless you make a multicam clip instead, and spread your audio out across multiple angle. Also, if you’re curious about how to do that quickly, here’s a blast from the past tutorial from a couple years ago I did on Batch Renaming and Advanced Multicam sync that should give you a really good sense of the best ways to prep your multicam clips:

http://wemakemovies.org/2012/10/fcpx-batch-renaming-advanced-multicam-sync/

The truth is that multicam clips are a far more powerful and flexible way of putting your clips together… and because the FCPX XML has improved so much, and multicam clips now transfer easily to places like Resolve, in my opinion there isn’t much of a reason for synchronized clips anymore outside of Timecode based workflows like Sync N Link.

Anyway, if you’re into this kind of thing… just wait til you see what we have planned in the FCPWORKS Suite at NAB this year:

http://www.fcpworks.com/nab2015/

ABOUT THE AUTHOR

Sam Mestman

Sam Mestman, FCPWORKS.

This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system, drop him an email at workflow@fcpworks.com and you can follow him on Facebook or Twitter at @FCPWORKS.

MXF Troubleshooting Tip

February 20, 2015 Tags: , , ,
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Mostly as a public service announcement to those of you running MXF workflows with FCPX 10.1.4 and above:

If after installing Pro Video Formats, MXF clips appear to only be 30 seconds long, it may be due to a conflict with the demo version of Calibrated{Q} MXF Import. To solve this:

  1. Quit Final Cut Pro.
  2. In Finder, go to /Library/QuickTime and trash the Calibrated{Q} MXF Import component.
  3. Launch Final Cut Pro, and reimport any clips that were previously only 30 seconds long.

From there, things should start running smoothly. Stay tuned on this blog. We’ve got more Secret Sauce vids and NAB 2015 preso announcements coming soon!

ABOUT THE AUTHOR

Sam Mestman

Sam Mestman, FCPWORKS.

This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system, drop him an email at workflow@fcpworks.com and you can follow him on Facebook or Twitter at @FCPWORKS.

FCPWORKS Secret Sauce: Advanced Dailies Workflow

February 10, 2015 Tags: , , ,
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Hey everyone,

As many of you guys know… a really cool app called Primaries Exporter got released a week or two ago that solved a MAJOR issue FCPX users have been facing… the lack of batch exporting.

You can find all of the info about it on this fcp.co report.

Anyway, this app largely came about because Mike Matzdorff and I reached out to Thomas Szabo after he’d updated an app that many of you know called Clip Exporter which fixed FCPX users’ After Effects workflow issues and asked him, “Clip Exporter already kind of does batch export… but it’s not exactly what we need for dailies… is there any way you can make an app that takes advantage of FCPX’s metadata capabilities to easily turn around dailies in batches from the timeline… and can it do thumbnails and make spreadsheets?”

Next thing we knew… we were beta testing an app that solved all of our problems. Congratulations and many thanks to Thomas for putting in the time to fill this need. I think the app is a game changer for on-set post and dailies delivery for high end productions.

For high end feature film and stock footage workflows, Primaries Exporter is a godsend as it allows you to easily take advantage of the advanced metadata capabilities in FCPX to allow you to deliver extremely high quality dailies and exports based on the metadata you’ve entered in your events.

If you’re making a feature right now and your producers want dailies… this is the app you’ve been waiting for.

If you’re wondering why, well, I made a pretty comprehensive video all about it. Yes, it’s long, but I cover a lot of topics. Basically, I take you from FCPX to Shot Notes X to Sync N Link to Resolve to FCPX to Primaries Exporter to show you how all these tools can combine to create a fully synced, properly renamed library with completely searchable metadata with high end dailies deliverables that have source timecode embedded in a highly automated way… also, you save a ridiculous amount of money in comparison to industry standard high end dailies software like Colorfront… and there’s far less metadata entry with this workflow.

Anyway, not all of you will need all of the things I cover here, so if you want to jump ahead to the section that’s of most interest to you, here’s some timings of where to jump to:

  • 6:38 – Adding footage and batch syncing audio in Davinci Resolve
  • 8:28 – What to do in the Resolve Edit Page
  • 9:50 – Adding Source Timecode in Resolve to your dailies
  • 11:33 – Resolve deliver page settings
  • 12:46 – FCPX – Add metadata to Resolve dailies with Shot Notes
  • 15:51 – FCPX – Prepping for Primaries Exporter (Audio component management, etc.)
  • 20:16 – Primaries Exporter workflow
  • 25:30 – Primaries Exporter Metadata List

The purpose of this video is to show you what you CAN do with all these apps… and hopefully it’ll help you work smarter and easier, and get started editing a whole lot faster.

We’re going to have a lot more workflow videos coming your way over the next few weeks… and stay tuned for some official FCPWORKS NAB announcements. For the moment, check out this special page and sign up for our FCPWORKS NAB updates: http://www.fcpworks.com/nab2015/

ABOUT THE AUTHOR

Sam Mestman

Sam Mestman, FCPWORKS.

This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system you can follow Sam on Facebook or Twitter at @FCPWORKS.

Podcast: FCPX-Logic Workflow

January 13, 2015 Tags: , , ,
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Sam here… Chris Fenwick and I are trading podcasts this week. Yesterday, on the inaugural episode of my podcast, We Make Movies: Film Central, Chris and I talked about the business side of editing… and we followed it up with today’s episode of FCPX Grill, where Chris and I talk Logic Pro-FCPX workflow and why it might be time for you to take another look at it as your go-to DAW … and we also dive into some bonus topics, including a brief discussion what FCPWORKS NAB plans might be this year… and I’m pretty confident in saying that I think the FCPX community is going to LOVE a lot of what we have planned there.

Anyway, it’s been a blast talking with Chris… and if you aren’t listening to FCPX Grill or Digital Cinema Cafe, you’re missing out… and if you caught the first episode of my podcast, and you liked it, there’s a whole lot more of that coming your way soon.

Check out FCPX Grill Here:

http://digitalcinemacafe.com/category/fcg/

Check We Make Movies: Film Central here –

https://itunes.apple.com/us/podcast/id955566793

Check Out Digital Cinema Cafe Here:

http://digitalcinemacafe.com/category/dcc/

Introducing We Make Movies: Film Central

January 12, 2015 Tags: , ,
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Sam here… just wanted to take a second and talk about my new podcast, sponsored by FCPWORKS, called We Make Movies: Film Central. While this isn’t exactly a FCPX podcast (although it’s going to come up quite a bit), if you’re a person who’s interested in making and distributing content in a smarter and more efficient way, this is something you’re going to want to check out. Pretty much, it’s going to be a bunch of conversations between myself and a lot of other people who are much smarter than me about the best way to navigate the Wild West of digital content creation that we’re all living in now.

Helping me kick it off is someone most of you guys already know, Chris Fenwick, whose podcasts FCPX Grill and Digital Cinema Cafe are two of the main inspirations for WMM Film Central. Chris and I don’t talk much FCPX on this one, though (we’re saving that for an upcoming episode of the grill)… instead, we spend a whole lot of time talking about the business side of editing and how to build and sustain a career as a freelancer in the film/tv industry, and what some of the strategies for success are for that.

In the coming weeks, we’re going to be all over the map on what we’ll be covering, from a rundown of what creators should be thinking in terms of modern online distribution with Yekra CEO Lee Waterworth to a really fun discussion with Alex Gollner (Alex4d) about the Apple Pro Apps code of silence and how we see FCPX workflow developing for editors. From there, we’re going to be all over the map with editors, colorists, broadcasters, mobile filmmakers, sound designers, and pretty much anyone I know that’s doing something cool in the film business who I think is going to be interesting to talk to. Expect to see some familiar faces from the FCPX community.

Anyway, you can find new episodes right here on Mondays on the FCPWORKS blog, over at wemakemovies.org, or just go ahead and subscribe on iTunes.

2015 is going to be a really interesting year, and I’m hoping you guys are going to find Film Central to be a useful resource in helping you navigate all of the change that’s happening in our industry.

If you have any requests for people or topics you’d like to see me cover on the show, feel free to get in touch.

ABOUT THE AUTHOR

Sam Mestman

Sam Mestman, FCPWORKS.

This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system, drop him an email at workflow@fcpworks.com and you can follow him on Facebook or Twitter at @FCPWORKS.