Making TV With Adobe Premiere

Announcer: Welcome to Producing Unscripted with Joke and Biagio.

Angry Man: Is this some kind of joke.

Confused Woman: Biagio-WHO???

Biagio: This episode. It’s episode 60 and we’re talking about editing our TV shows and why we’ve switched our company to Adobe Premiere. Choosing the right editing tool for the job. Considering avid, Premier and Final Cut ex for pro work. The Scott Simmons article you should read about editing systems and what happens when the software you love drops dead. Music courtesy Dave Pelman music Dave Pelman. Com. Hey everybody. She’s joke. He’s Biagio. We’re married. We make unscripted film and television and want to help you do the same. Hopefully by teaming up with us. Well, welcome to episode 60. For those of you who are new and don’t know, obviously we’re married. We own a company named Joke Productions, named for my lovely wife. We create an executive, produce unscripted TV shows, documentary series and reality television for places like A&E and VH1, oxygen and IFC. I mean, listen, if you’ve heard of a network at this point in our career, we’ve probably done something with them at some time or another. Our production company is located near Universal Studios in Los Angeles, and all of our TV shows run through there. We shoot the shows, we edit the shows, we deliver the shows to the networks. And that last bit, that editing and delivering part that we’re talking about this week.

Joke: It is a lot of people reach out to us wanting to know what you guys edit on. And the truth is that recently that was a very tricky question. Until recently, until recently, we it wasn’t an easy question.

Biagio: Until now, I think all of us, whether you’re working out of a one bedroom apartment, which is how we started or you’re running a 7000 square foot facility, which is where we are now, you need to make some decisions about what is best for you. And that was quite a journey for us.

Joke: I mean, we’ve always said it’s not the tool, it’s the user, right? We’ve always looked for people who bring their own craft and their own sensibilities to the tools that they use for their craft. But, you know, you can put two pottery makers on the same pottery machinery and, you know, the results will not be the same. So the same thing goes for an editing software.

Biagio: Yeah. And listen, one other thing I want to say really quickly, because I think this is important and it’s a little bit of what makes our company different from a lot of other production companies, which is that, you know, both joke and I have personally edited and just about every nearly every piece of analyst software out there, I’ve been an editor.

Joke: Now stands.

Biagio: For analyst stands for non-linear editor for our for our brand new listeners who might have not worked in the field before. And yeah, in post NLE is a non-linear editor. Now, I have been an editor myself for close to 20 years. I’m the lead and sometimes only editor on all of our TV pilots and pitch tapes. Often I’ll do polishes and even some heavy editing on our own TV series as well.

Joke: Yeah. You just actually edited lead on three episodes of snap! She made me do it. Or new series?

Biagio: Yes, yes I did. And over the years, I have personally edited on Avid Final Cut Pro versions 1 to 7, Final Cut X, and Adobe Premiere. A joke has also personally worked on all of them.

Joke: More from a story producer perspective, you know, string outs and kind of dealing with your timeline as, as a, as a workplace, a workbench.

Biagio: Yeah. Now, the reason I bring it up is because it’s not like we’re just sitting here or speaking to you as executive producers from an ivory tower who have these grand notions of how editors should work. We’re speaking from the POV of people who literally built our company by spending years editing on Edit bays personally.

Joke: Yep, we know what we need. We know what we want from our post software. We’ve had it in our office, in our spare bedrooms, in our living rooms, on our couches, and even in our bedrooms.

Biagio: Yeah. So. So before we get into the bulk of the episode, we just wanted to make that clear. And like I said, we’re not trying to start a holy war here about editing. I did want to mention one great guy that I follow on Twitter. His name is Scott Simmons. He’s on Twitter, is at Edit Blog, he writes over at Pro Video Coalition, and he had a post a while back about why you shouldn’t be defined by your editing system. I’ll link to it in today’s show notes, which you’ll be able to find at Producing Unscripted 060.

Joke: And that said, we run a company and we had to find a post solution and a post workflow that was right for us. So we made a choice. After lots of agony and careful consideration, and based on the kind of television shows we make and two years of hard core testing with lots of tears and money spent.

Biagio: Lots of tears and lots of dollar spent.

Joke: We officially decided. We tried, and now we finally decided, okay, we’re going to stick with this. That one piece of software was right for us, and that piece is put up.

Unidentified Voice: To the.

Joke: Adobe Premiere and the Adobe Creative Cloud suite. In our eyes, it is officially reality ready and we decided to take our whole company. 100% Adobe.

Biagio: Yes we have.

Joke: Mind you, I just got a little scared saying that out loud. A little PTSD, maybe not.

Biagio: Listen, listen, we didn’t always know if this was going to be the right way or not. It was a tough decision. But right now, it’s one that we’re both so glad and relieved we made. So what we want to do is we want to tell you about the process we went through to evaluate what system might be right for us, and how you should take the same steps to decide what editing platform is right for you.

Skeptical Boss: Well, that sounds good. In theory.

Biagio: The kind of TV we make, which is a wide variety of unscripted projects, is actually among the most Manding type of project for most editing systems. We have thousands of hours of footage, sometimes 20 or more cameras, loads of graphics, sometimes heavy visual effects. For our reenactment shows, 50, 60 or 70 tracks of audio in a timeline is not unusual.

Joke: And that is not an exaggeration. It is not very, very scary. Most editors have a nightmare even thinking about this, but that’s what my husband does.

Biagio: I do. I really like the sound design and sculpt and mix, you know, and we have 20 to 30 people, you know, including editors, story producers, you know, and posts connected to that footage at the same time, 20 to 30 people. I mean, listen, some reality companies have 100, but 20 to 30 is it’s no it’s no small deal. It’s a, it’s a, it’s a major load, you know, on a system so.

Joke: Guaranteed cutting your average script, a TV show or independent film is far less taxing on an editing system than cutting a show like or upcoming oxygen series. Again, that’s not to say one is better than the other, or one is more this or that. It’s just just fact, right? Different things need different. Different shows need different things. And so for the kind of shows that we’re doing now, like with the individual effects and stuff, it’s just very taxing. They’re heavy timelines and they’re much more complicated timelines than a scripted TV show or an independent film.

Biagio: Yeah, no. We’ve always experimented with software so that we could try to make our TV shows look a bigger budget than they are, right? I mean, that’s what everyone tries to do. You want to make your show look as good as possible with what you have to work with now going way back. And I’m really going to age myself. Years ago.

Joke: Did you you did that when you said.

Biagio: I did that when I said final cut. Well, we were working before a final cut one years ago. You know, we realized when we were first breaking into the industry, we could make our shows look way better, way faster. By combining the original Final Cut Pro with Adobe After Effects, the two talk nice to each other. For the most part, you know, at the time, which was like ten years ago.

Joke: We only started taking Final Cut 3 or 4.

Biagio: Yeah, it was our final cut. I mean, this was already at like Final cut 3 or 4 by the time we were using it professionally for TV shows. But it you know, it talked nice with Adobe After Effects. It was a smoother process at the time than mixing After Effects with avid, a composite in titles and graphics right in a timeline and Final Cut was a lot faster. As long as you knew that there were some little, you know, some little traps you had to watch out for. But overall, we were able to make TV a lot faster and a lot better looking. Using Final Cut Pro at the time for the kind of shows we were making.

Joke: Yeah, we were doing a lot of pilots on our own, you know, from home on Final Cut, and we really had figured it out. And so when we got to our first show running gig, the network insisted we use avid. And, you know, we’re like, well, he were doing something professional. Now I guess we should use avid. And we brought a couple editors in and Bianca also worked on it. And it’s just it just wasn’t doing what we needed it to do at that time. So when the show got picked up and went to series, we convinced the network to let us go final cut. And that was a funny process because the entire time we were doing it, the, you know, the old guard at the.

Biagio: Old curmudgeon, he was so sure we were gonna fail miserably.

Old Curmudgeon: Final cut is for wedding videos.

Biagio: Joel.

Old Curmudgeon: Never deliver.

Joke: But listen, in their defense, they came back and they were like, you know what? You guys were right. And then the network ended up going final cut as well. So so we’ve been we we definitely were able to build our career on the strength of Final Cut and being able to integrate that with After Effects and deliver stuff that the regular shows on avid weren’t able to.

Biagio: Yeah, yeah. And I mean, listen, the fact that we’re one of the we were one of the youngest sets of producers to get third party approved, which means networks trusted us to make our own TV shows. I really do believe it’s because we were doing things differently, and our early shows looked a lot better because of the way we were mixing Final Cut and Avid, and it was good to us. For a lot of years. We had a lot of TV on Final cuts.

Joke: And then disaster.

Biagio: As many of you know or may not know if you’re new to the post World Final Cut, as we all knew it died.

Joke: Final Cut Pro Die. Don’t confuse it with the current Final Cut X, but the Final Cut Pro at the age of seven, Final Cut seven died. We all saw it coming. It was a very slow and painful death. Everyone was expecting. Final cut eight. We were looking at NAB. Come on, final cut eight.

Old Curmudgeon: Come on 64 bits.

Joke: And it did not come.

Old Curmudgeon: Nope.

Joke: And some of us really hoped it eventually would. And we kept saying oh no, no, no, no, it’s gonna come out. They’re gonna change their mind, they’re gonna go back, they’re going to go back to Final Cut eight. And it never happened.

Biagio: It didn’t happen. You know the final cut ax thing. Listen again. Listen, I’ve worked on it. You know I understand it. But you got to understand it’s it’s much different when you own a company and you have employees and you have networks giving you millions of dollars to deliver a TV show, you can’t just turn your company in a dime and experiment with a version one software. It doesn’t matter who the software company is or not, it’s just not prudent.

Joke: Well, and to explain, you know, listen, Apple, as we all know, because we’re all carrying on iPhones or iPods or whatever has revolutionized a lot of, you know, parts of the industry. And and I think that with Final Cut X, they’re like, oh, there’s a better way to edit. You should do it this way instead. And that’s nice and grand and awesome. Before an industry that’s running on, on a way to edit, on a way to organize projects, on a way that things have been done for years. And every editor that we hire freelance is used to that. It’s it’s not quite feasible for any of us to just be like, great, everybody just change how you think and then come work for us.

Biagio: Yeah. And listen, hey, maybe that makes us the new curmudgeonly. Maybe now we’re the curmudgeon who are stopping us down ten years ago. But, you know, listen, when you get to our position and like I said, a network is just trusting you with so much money to deliver a show on time, on time, on budget, you got to find enough people. Listen, I’m an editor. I’m a pretty decent editor. I can edit, edit all the shows myself. Like, we got to hire people, you know? So that meant we had to make some decisions, right?

Joke: We had to make a decision as a company. We kept using Final Cut Pro seven and you know, we knew eventually it was going to die. I mean, our our operating systems were several versions behind because we were afraid to upgrade in case that Final Cut would just not open anymore. Yeah. So you know, there was, you know, run Final Cut Pro seven into the ground, which we ended up doing. But that’s another story. Wait and see where Final Cut X was headed, which we kind of did. But again, it’s such a completely different way of thinking that it just didn’t become feasible to us. Switch back to avid, which again, it’s the industry standard. So that was very, very prevalent.

Biagio: Yeah, it was a plausible. It was it was a.

Joke: Lot of our editors who were freelance. They do a lot of work on avid. So for them it would be easy for us to hire avid editors.

Biagio: And again, I’ve worked on avid. Avid. There’s a reason avid is still around. Okay, we’re not bashing avid here, but it was we just we had to look at it as an option.

Joke: And then the other option was to look at Adobe Premiere, which had as a company, kind of reinvigorated their premiere brand and put some more thought into it. And so we were finally in a position to take a serious look at them.

Biagio: Yeah. And it wasn’t just us. A lot of companies found themselves in the same position. Now, as joke will tell you, I’m a I’m something of a dreamer. I’m something. I’m something of a think big shoot for the moon. Even if you miss Yolanda among the stars kind of guy.

Joke: It’s gotten us into a lot of trouble. And it’s also really opened a lot of doors.

Biagio: So it has. So you can decide for yourself how it worked out. This time I got a little crazy. This was my idea. I was like, you know what? We should reach out to all three companies Apple, avid, Adobe, tell them who we are. Because the fact of the matter is, we push the limits of the software, probably more so than a lot of production companies, you know, and I just thought, you know, who knows, maybe we can maybe maybe they’ll be interested in working with us because we do so many different kinds of shows. You know, maybe we can even, like, help them shape the future of their software. So I know, right? Joke is just rolling your eyes over here.

Joke: It’s a little naive, but naivety has gotten us into a lot of places.

Biagio: It has. This naivete has gotten us to where we are today, which is running this ridiculous, ridiculously large company for two kids in the middle of nowhere. So basically, I emailed and called everyone I knew who might be able to introduce us to anyone working at Apple, avid, and Adobe.

Joke: We never heard back from Apple.

Biagio: I guess I wasn’t totally shocked, no, but I but I gotta say, on the other hand, I was really excited and somewhat shocked that we we did hear back from both Avid and Adobe.

Joke: Yes. No. I was super excited. And the great thing is, they both came to our offices to talk to us and listen to what it was that we had been doing with Final Cut seven. And you know what we really needed from our software solution?

Biagio: Yeah, I mean, over the years, we developed our own crazy way of working, which gave us great results, but tended to bend software in a variety of weird ways, especially given our budgets and turnaround times. We were always sort of pushing Final Cut Pro to its absolute limits, and honestly, I think we’ll probably continue to do that with whatever software we use because that’s just how we are, you know? And then we told them that, you know, to both have and and Adobe, we said we would love to work directly with you and show you how we work. And you know what we really need out of an editing system. So I.

Joke: Have to give avid a lot of credit because they were very, very honest with us, and they basically said that the way we worked it would be difficult, not impossible, but very difficult. In avid, it would require help from third party plugins that may or may not stay compatible. Again, when there’s a third party plugin, you know, avid will not take responsibility for it and neither should they, right? Because it’s the third party. And they honestly told us that while they’d be happy to hear our request, realistically a lot of what we wanted just wasn’t likely to pop up in the software very soon. Because they are not just a software company, they’re a hardware company, and they’re very much work, you know, working and focusing their research and development needs on making that the solid and robust as a system as possible for, you know, the majority of the industry, which is scripted in movies and everything, you know, straight cut the cut stuff that obviously they’re doing very well with.

Biagio: Yeah. And I listen, I really respect that. Honestly. If we had been doing a straight, you know, cut to cut docu series, a show like our MTV show cage that we did a while back or something that wasn’t very composite or FX heavy, we might have just gone have it right. That. Yes. But the fact of the matter is, was we were coming up on season two of Ghosts Inside My Child.

Joke: We we asked our editors, right, many of whom edited on both Avid and Final Cut what they saw. And they all felt that with as much crazy and last minute compositing that we do on that show, they’d rather just stay final cut than go avid. Everyone was scared of premiere, didn’t know premiere. It was just a old final cut or avid thing. And it you know, it’s just because of what our show demands. Avid would have been too difficult.

Biagio: Yeah. And so okay so that’s the again so tool for the job right. So at that point in time it wasn’t the right tool for the job or the right tool for us as a company. So then we got to meet with Adobe. Now they on the other hand they felt Premier could already do most of what we needed. And they and they expressed a real interest in supporting the kind of intense work we do.

Joke: A bit of naivete on their part at this point.

Biagio: On all of our parts. Right? I mean, listen, we had we had found ways to work around Final Cut Pro limitations over a decade of working with it. So, you know, a lot of it is also just knowing where the potholes and where the bombs are. Every piece of software has bugs. It doesn’t matter. Avid Adobe Final Cut no matter. All software has little, little dings in it that you’re going to find. If you really go into every single feature and push it to its limit. But anyways, Adobe really wanted to learn how we worked, and it actually started improving and changing their software based on what we were doing. I mean, for me, this was like amazing. You know, I’m geeking out the whole time. And I think the.

Joke: Biggest part, I think that was super helpful for them was, was less even our editors and what they were doing in the edit bay, because, frankly, premiere had significantly already improved from the early, early days in terms of the actual, you know, interface that the editors working with. But where, you know, they picked up a lot was kind of in the under the hood kind of stuff where our assistant editors and our post department were running into in terms of starting projects, multi-cam projects, and managing, actually, the entire project.

Biagio: Yeah. And again, it was it was a us coming in and saying, okay, listen, we realized a company like ours really hasn’t used Adobe in this way before. So it’s no surprise that maybe because not and thousands of users have been pushing these features to their limits, that we were finding little things here and there that we were having trouble with. But again, in Adobe’s defense, like they would keep fixing it and they added new features for us. One that I’m really proud of is export selected, the project that came out of a conversation I had with Mr. McGovern over there. So they were really in understanding how the more intense side of unscripted TV worked. That said.

Joke: Well, it wasn’t just as easy as just switching over.

Biagio: No, no, we didn’t just switch over all our systems. The guys that Adobe were pretty surprised when they saw our timelines and and they told us much, much to our surprise, we had the most complex projects of any of their customers. And remember, they everyone knew they were doing Gone Girl with Fincher at this time. So we were pretty impressed to hear that our timelines were so gosh darn intense.

Joke: And so back to trying to figure out what we’re going to do, right? Final cuts, dying avatar like sorry, but we’re never going to be what you guys want us to be. So now we’re focused on Adobe and we’re like, Good God, please let this work. So we invested a lot of time and energy, and we started heavily testing Adobe Premiere, and we actually broke it a lot. There were some scary days, some scary nights. But again, to Adobe’s credit, they come to our offices, stayed remote in. They talked to us on the phone, and they would fix what they could, when they could, and it would continuously get better.

Biagio: Yeah. And like I said, you know, we’re one of the very few companies in the world who are going to use the software the way we do. We take features most customers never even use, and we just push them to their max one. One Adobe Rep I remember affectionately told us that we could break the software like no one else. So we kept breaking it and they kept fixing it. And this went on for about two years. And because again, it was this is a big decision for us, right? We’re a company now. We’re going to have to invest a lot of money in hardware and software, in changing our company and taking in a new direction. And so what we took away from them was that Adobe really cared about getting things right for the pro market, and honestly, that the people who work there are truly good people who want to make a product they’re proud to put out into the world.

Joke: Truly. I mean, there are great people I yes, I’ve had lots of conversations with them when I was probably just ranting and raving while I was not working, but they stuck with us. And the truth is, we did not know what was going to happen. After about a year, we weren’t ready yet to make the switch. So even though premiere was drastically improving, we still had to rely on Final Cut Pro seven for our, you know, make it to air shows. And so we were running out of time.

Biagio: Yeah. Final Cut Pro was aging horribly. You know, we cut our A&E series Don’t Trust Andrew Maine and season two of Goes Inside My Child for LM on Final Cut Pro seven. But it was hard. But no one no one wanted to do that again.

Joke: I remember one of our editors would just keep taking screen grabs of all his crashes.

Biagio: It was like it was like a hobby. Hey, it’s a new Final Cut Pro crash. It’s a new Final Cut Pro crash. I felt so bad for those guys.

Joke: I know. Well, it was pretty clear that Final Cut was seeing its final days and we were going to get if we were going to keep trying it, we’re going to get in major trouble with it. So we had to let.

Biagio: It go. Now, in the meantime, we have switched to cutting all of our pilots and presentations on premiere. You know, every bug report went to Adobe. For the most part, it was night and day. What I could do in a half a day with Premiere and After Effects would have taken me twice as long on any other platform. I mean, I would fly through sizzle reels and pitch tapes and cold opens for pilots, you know? But that was me. That was one guy in a fast machine, not 30 people hitting the server, you know? And that’s what most production companies worry about. Can 30 or 50 or 100 people all be using the software at the same time without hiccups?

Unidentified Voice: And we were about to find out.

Biagio: Yes, we were.

Joke: So we had our big two hour special to cut. It was it hasn’t been announced yet.

Biagio: So yeah, don’t give it away. We can’t say what it was yet.

Joke: Sorry, sorry, I almost did that. So it was just a few editors, editor, assistant editors, you know, kind of a handful people in post, but it did require a lot of compositing. And so we did decide to try premiere on it. And to everyone’s joy, it went really smoothly.

Biagio: It did. It was it was it was a great sign. And again, listen, I really, really, really wanted a premiere to work. I just I love the jumping back and forth. We can add it in After Effects, you know? And while this was a great sign, honestly, it wasn’t the most taxing project. It’s a two hour special, you know, it’s basically a glorified pilot. Like it’s not it’s not an industrial strength test for a piece of software.

Joke: But then we rolled into snapped. She made me do it to oxygen. We talked about that in the last podcast.

Biagio: Last podcast episode.

Joke: And so we decided to make the leap, roll the dice, keep our.

Unidentified Voice: Fingers crossed and go for it.

Biagio: Yes. But listen, if you know my wife, you know that she really only bets on things. She really think you’re going to come through. So I think you should take it as like marrying me. Yeah. Oh, yeah. I lucked out on that one, people. Anyway, snaps made me do it. You know, this was this is this is a really solid enterprise level industrial strength test of an editing system. You know, it’s not the world’s biggest show, but it’s certainly not the world’s smallest. It’s a stylized reenactment show with tons of graphics and photo, real visual effects. It’s a light to medium multicam situation of anywhere from 3 to 6 cameras. You know, not the biggest, but not the smallest. A lot of editors and story producers, so a lot of people hit in the server and crazy fast turnaround time. Turnaround time on this show was nuts. So given that sort of like list of things, it was a really, really good test for us with Adobe Premiere and Joke. What did we learn?

Joke: We learned that now that our episodes have been QC and approved by the network, which is the final and ultimate test in our opinion, Adobe Premiere is officially reality ready and we’d be happy to do any reenactment show or docu series in premiere. Definitely anything that requires heavy compositing into timelines and Final Cut is dead and buried. Rest in peace.

Biagio: It is. Let me, let me let me just give you a few specifics about, again, why for us, this was the right tool for the job. You know, building multicam is something of a joy in premiere. It’s super easy to swap in other camera angles after the fact if you missed one. And in case you’re thinking of the old multicam premiere had years back, this current version is much more robust. As I think I’ve said a thousand times, the integration between the After Effects and Premiere is amazing. Several of our editors know After Effects as well, and they they really had a good time hopping between the two programs and creating everything from muzzle flashes for guns to dramatic time lapse skies and subtle lighting effects are just some some tracking of some 3D elements using video co-pilot’s element. And because it was so fast, it was so painless, they felt like they had the luxury to try things. It was just easy and the show looks vastly, vastly better for it. Adobe’s newish media browser feature worked great in our shared environment. If an editor needed an interview bite, it was super easy for a story producer to find it, pop it in a sequence in their project, which the editor would then meteor browse into and grab. It was super easy. We did tons of these handoffs every day and it worked fast and smooth. Now, those of you who are avid users probably aren’t super impressed with this feature. Listen, avid has amazing sharing capabilities, works incredibly well in a shared environment. That’s why it’s so popular. That’s why it’s still a great piece of software. But those of you coming from Final Cut Pro seven, I have to tell you, the handoff process is much smoother than anything we’ve done on previous shows. I guess I said this already, I can’t think of an app we didn’t use at least 40 or more audio tracks at some point. We do so much sound design, so much music editing, stylized, fully ambient sculpting. You know, it would have just been hard to do that in avid. I just, I just I don’t want our editors to have to count audio tracks. I just want them to try stuff and go for it. Also, because the show really had to have a stylized grade, the network wanted to see our color correction ideas right in our very first rough cut of our first episode. So again, up against the clock, we were able to use Magic Bullet Colorist and looks for a temp grade really quickly. It ran in real time. We placed Magic Bullet on adjustment layers above the footage, so it was really easy to pull off. Later when we online, we could just get rid of them and allow our colorist to do, you know, a professional version of those grades that we had just kind of thrown on. And like I said, those affects all ran in real time and it didn’t have to be rendered. So it was like a super time saver.

Unidentified Voice: Yeah. Well, so this is not.

Joke: A technical podcast, so we’re not going to get real geeky, although I feel like that train has left the station. Sorry, but there are a few more things you should know. You can’t set up premiere in the same way, in kind of a bigger facility that we have, as you would in your bedroom, right? The bigger your pipeline, the more important your hardware and your hardware setup is. Final cut worked on the apples, whichever Apple computer you bought because it was designed by the same company that was designing the hardware it was supposed to function on. Similarly with avid, it works best on average hardware. Adobe Premiere is software only and it’s platform agnostic, but it’s important that you spend the time figuring out the right hardware solution for your needs. So again, if it’s just you with a drive at home, that’s one thing. But if you’re going to have multiple editors or assistant editors or other people working on the same footage, and you need to get some kind of server system going, you really want to make sure you have the right hardware solution for it.

Biagio: Yeah. No matter what level you’re at, I do want to say solid state drives of your friend. They’ve gotten a lot more inexpensive. I mean, they’re still more expensive than spinning drives, but they’ve dropped in price a lot. Our server that everybody is hitting is a hybrid of solid state and spinning drives, and I don’t think we’d have run nearly as smoothly as we did without those solid state drives. They were a real important part of our post-process, and there are a lot of little things like that that you can do to tweak Adobe Premiere, and you really want to if you’re going to build a big system, you want to talk to an expert. And there are a few companies out there that are Adobe Premiere experts and kind of kind of help you tweak it. If you’re going to put together 30, 40, 50 computers or more, you don’t want to just install premiere on all your computers and go, right?

Joke: So if you’re just going to do it on your own project where it’s a documentary or whatever it is, then by all means go for it. I think you’ll be very, very happy. What’s your timelines? You know, if you’re going to do a movie, make sure you treat it as real so you’re not constantly working in a two hour timeline. But if you if you are interested in setting up kind of a major premiere environment, feel free to reach out to us. If you have any specific questions, you can hit us up on the contact page over at Joke Productions website, and we will be more than happy to give you more technical gobbledygook.

Biagio: To our, but to our fellow production companies out there, we know we have some friends. We listen to this podcast or others who are just thinking about taking, you know, a big company premiere. We’d be happy to share our experiences with you. Also, let me just say I know I’m biased, okay? I’m a big geek and Adobe decided to work with us and we’ve been able to shape the software. So of course I’m biased. Okay, let me just say it, I am biased, I get it. But if like me, if you’re the kind of person who likes to go to town editing, building graphics, do your own sound mixing, color correcting the Dobie Suite is pretty awesome. So. But just to clarify.

Joke: Adobe is not paying us for this.

Biagio: Oh no.

Joke: On the contrary.

Unidentified Voice: We’ve put that quite a lot of our.

Joke: Time and actual dollars in this ourselves, with the trust and the fingers crossed. Like I said earlier, that we would get a software program in return that would do what we needed to do. And we’re happy to announce that investment has paid off and it feels really good. It’s been a long two years. There were days that we didn’t know if it would happen. Biagio would be like, Doug’s.

Biagio: Never going to get the.

Unidentified Voice: Software program that I need.

Joke: But we’re happy to say that as of today, no matter what level you’re at or what you’re editing, Adobe Premiere is ready to help you if you need it.

Biagio: Yeah. So here’s we’re going to be at a quick special thank section. Don’t leave though, because we have some important tips at the end of the the podcast. But we do want to say special thanks, first of all to our entire post team from our editors, our story peeps, our assistant editors, our post-production supervisor Shane, you know, our elite Glen, you know, these guys and gals work their butts off, incurred lots of stress and, you know, persevered. Second, of course, is the Adobe team. You know, van, thank you so much for sticking with us. Everyone from Mooney, Dave McGovern, you know, Dave Costa, Wes Hall, Steve Hoag, all the engineers over there at Adobe. You guys have come through big time. Jeff from Open Drives, thank you for commiserating and coming through with the hardware solution that we use. That’s open drives. They’re amazing.

Joke: Everyone at.

Biagio: Open dies. Everyone at Open drives is just incredible. And Mike Nichols, aka the Phantom editor, who I go way back with, he was he was the original Final Cut pro, and I do mean that. But I want to say no one wants wanted to see premiere where it’s at right now more than he did. And he was he was more than anyone he championed early on and told us we should really come back and look at premiere because he believed in it. Thank you, Mike, for always inspiring us to take risks and and not just just go with the status quo, because that’s what most people do.

Joke: And I personally also have to thank van. Just thank you for letting me rant and rave when it wasn’t working. I know you bore the brunt of arbitrations and I thank you for sticking it out. You guys should be really proud of the product you designed. It’s a it’s a fantastic.

Biagio: Yeah, yeah. You guys really should be proud now, now now that we’re done thanking everybody, I just want to say don’t forget, in just about a week, you can see just how well they’ll be familiar. Works for us on national television. When on Wednesday, September 9th at 10 p.m., nine Central Oxygen airs our new TV series. Fully edited. And the Adobe suites snapped. She made me do it. We’ll be live tweeting from our Twitter account, which is at Joke and Biagio. Joke and Biagio, I would love it if you come out live tweet with us with hashtag snapped. You can find the show notes for this episode at Producing Unscripted 060. And of course, as you know, if you’d like to break into the unscripted television world, we do take pictures from our podcast listeners. You can find out how by signing up for our newsletter at producing Unscripted and following the directions if you’d like to pitch to us. So thanks again for listening. Thank you, Adobe for listening to our rants over these past few years. And until our next episode, you know, we’ll be off in an edit basin. We’re working on premiere. Sounds good. Thanks, everybody. Bye bye bye.

Unidentified Voice: Producing Unscripted with Joke and Biagio.