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0:14
Hello, and thank you very much for listening to this episode of The Billy Newman photo podcast. Today, I wanted to speak to you a little bit about rendering out mp4 video. I know that’s probably a pretty exciting topic for everybody. That’s what I’ve been doing recently, I’ve been trying to kind of put all of that on this workhorse desktop computer that I’m using. And I’m trying to use well, first I was trying to use Lightroom, right, you’re probably familiar with talking about Lightroom for managing photos and sort of working with them and editing them. It also has limited capabilities of working with the video files that come off of the DSLR that are just kind of commonplace with modern DSLR cameras. So bringing those videos over there, they’re normally some kind of MPEG container format which is a bit of what I’ve seen, I guess m VK or our MKS is that sort of Chrysler, I don’t know, isn’t my maybe a different thing. But there’s like a hit like MTS or something like that there’s a handful of these different little like container file extensions that are trying to sort out, they’re fine, they seem to open to most things, I’m not having a big problem with it. Other than AVC HD, I’m trying to sort those out if I have any of those raw ones around. But I have this library of videos around now, I appreciate having the original files. And if that’s important to you, as a media creator, I recommend keeping those source files around at a higher quality. But for me, with a lot of elements of video, especially a lot of projects that are done, but maybe some things that are kind of like an accomplished project, but I want to keep those media elements around, but not necessarily in their whole quality by any means anymore. So I’m trying to go through and render those things out. And unnecessarily about a quality thing. But just about an odd format thing, like I was just explaining with MK V’s and Mt SS and three GPS and mo visa those are quite common, but I’m trying to make the system just a little bit more uniform for the video experience of the videos that I have. I’m trying to render those out. I was trying to use Lightroom. To do this. I was trying to use it in mass to render out and refile names, and all of these video elements so that I don’t have any more collisions with these video files. As I’m moving the file names around, you know, image 0001 dot mp4 overwrites image 001 dot mp4 created two years later on a different SD card layout format, whatever it is, it’s been a problem before I probably lost media because of it because of that error. So to try and correct that I’m trying to come through and render everything out with an additional date name that I was able to add in Lightroom. But Lightroom kept crashing or at least would not render the video that I had trying to get out from the Lightroom catalog that I had the video stored in so it was kind of interesting, I liked a lot of problems with that and did a great job with a handful of the sets of video like the three GP, I think the MTS and mkvs I think it went through quite well but any of these mo v files and just sits it doesn’t necessarily even lag, it’s just not rendering frames, it just sits there like it wasn’t asked to respond. The computer’s processors don’t kick up at all. It’s not like it’s trying to render a video but not or I don’t know, it’s just like pretends like it didn’t get asked to do anything at the time. So it’s all the struggle of trying to render video so I ended up dumping Lightroom because I was hoping that I could do some automatic file naming and file categorizing with Lightroom and how to do a bulk export of video under the format that I was hoping to kind of have it you know, automate some of that file naming system and export settings and stuff. I ended up switching over to handbrake because I was having such a hard time getting Lightroom to grab onto the video and do anything with it. So I’ve been having a great experience with the handbrake so far. And there are a lot of tools and more modern systems with handbrake that make the file naming and recompression system quite easy. We can set things as same as the source and use the file name of the source. And that’s where he quite well to kind of grab a file, put it in a render queue. With new settings that are pretty automatic, where it’s you know, it’s kind of like a two or three-click operation to get a new video added to the queue. And so just earlier today, I added 100 dot mo v files to the queue, which I hope are set up correctly, I think there are a couple of mistakes I made in there. We’ll see how they render out but I put those in the queue and I’m doing a test of it now. And that stronger computer as opposed to my laptop burned through those video frames much faster I think it was because I was rendering out about 30 frames a second. So it’s almost like real-time rendering. If you were to think about like, you know, 30 frames a second in the video. Well, 30 frames got rendered of that video and just that one second, so it’s going through it much faster than it used to in the olden days. It’s kind of fun to see who knows where it will be 10 years from now.
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You can see more of my work at Billy Newman photo comm you can check out some of my photo books on Amazon. I think you can look at Billy Newman under the author’s section there and see some of the photo books on film on the desert, on surrealism on camping, and cool stuff over there. And it’s kind of fun, I like doing that sort of stuff I like to kind of poke around I want to get out there with the what is the saying that the metal detector, that’s the one to get out there with I think that’d be kind of cool. As for hearing, there are several different things you can do with the metal detector, and it’s pretty fun most of the time. In the spots that I’ve been out, the only thing I’ve found so far is like casings from, you know, ejected bullets that have been fired out of a rifle over in Eastern Oregon whenever I guess when someone else had been out there hunting or doing some shooting or whatever it is. And then I’ve kind of come along through a camp and found some, some old shells and stuff laid out in the, in the dirt over there in between the sagebrush. But that’s about the most that I’ve ever found is like a cool thing that I want to go out to the coast, see if I can find something fun and cool, that’s washed up onto the shore. I had some family that lived over on the coast for a long time. And you know, when they kind of go out to the coast, do their walks and stuff. I think when you have more access to the coast, you just out there more and they’ve kind of found some cool stuff that would wash up over the years, I think they’d found some things that seemed like they were off some Asian fishing boat or some little buoys that would come in or little like crab fishing things that would wash in from our boats or other boats and stuff and it’d be cool. And it’d be fun to kind of find some stuff out on the beach. I think it’ll be fun. was looking at a couple of other things that I thought would be kind of neat since it’s Christmas coming up soon. And since my birthday just passed, there are a few, a few kinds of like everyday carry things that I was looking into. And some of the brands that are sort of around that are what would kind of be a cool one to pick up, and I’ve been looking into a few different pieces. One of them was pocket knives, I carry a pocket knife with me most of the time. I think before I talked about the Gerber Gator that I carry around, I think it was about a four-inch blade, it’s a little bit more than a four-inch handle. It’s sort of a full-size grip in the hand, I guess what I’m saying there is it extends open to about eight and a half inches or so handle and blade as it’s open and then it’s got the locking back which I like a lot more than kind of that finger release that you press sort of on the inside of the blade to kind of push a little bit of metal out of the way so that the blade can kind of fold back and collapse in on itself. I don’t prefer those and I kind of fat at least like the cheaper blades that I picked up that were like that to start to fail over time where that little metal springiness to it that sort of pushes in place starts to kind of wear off or bend out a little bit and then after a while it wouldn’t lock in place it would lock back enough to be there but then as soon as I put any pressure on it would fold back in on itself and come toward my hand and my fingers and stuff less cotton so that it happened. I think a couple more with a couple of knives that had that was like that a few times. So now when I’m getting a folding pocket knife, I try and avoid that style of it. There are a bunch of them that are like that and there are a bunch of them that are really pretty cool and I bet if you buy a higher-end brand, or you know like a better-built knife, then you’d probably have better luck with it. But really, I prefer the back that locks on it. So like kind of, I don’t know, maybe three-quarters down toward the bottom of the handle. There’s going to be a little metal bit that you’d press your thumb into. And that kind of pulls that part of the Tang of the knife lifts a locking release in the blade and then you’re able to swing the hinge of the blade shot to collapse it fold it and then put it back in your pocket. I like that kind of style a lot more than the other type that I was talking about. But when I was looking around, that’s what I tried to pick up with the Gerber Gator that I had and I liked the Gerber knives. I’ve had a couple of variants of that style before. I like the kind of rubberized handle. And I like the price too. It’s like 29 bucks, I think you can get them. I don’t know maybe like on the more expensive end for like 40 bucks. But these Gerber gators are the full size and I think there’s a mini they’re pretty good.
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Kind of mid-range, usable folding kind of pocket nice that you’d have. And I like it a lot more than some of like the Kershaw’s stuff that I’ve had that sort of at that lower-end price point that’s like below $20. I’ve had those for about six months or so and then some of those hex screws start to unwind on me and then all of a sudden I’ve got a knife that’s in like four different pieces, washers and bits and stuff kind of all over and that’s happened a couple of times. Those, those sort of assembled maps to try and find some stuff that’s got a certain type of construction on it that keeps it a little tighter together, the hex screws are pretty well, on the higher end pieces, those do hold together really well over time and they don’t have to be dismantled or reassembled. But on some of those less expensive knives, unless you’re doing some kind of more regular tool maintenance to keep those bolts tight, they do start to kind of work themselves out on you. And the steel blade, I haven’t even gotten to that the steel blade changes like all the time, or Bondo, it doesn’t change all the time. But there’s a ton of different variations of quality knife steel that goes into these, these folding pocket knives or full tang pocket knives. But I was kind of looking into that a bit like I guess like what used to be the standard for hard knife steel back 30 years ago isn’t anywhere near the same as it is now there’s a whole bunch of different variations of things that they give you different benefits or, or drawbacks I guess it’s like, there’s like steel, but then there’s steel that you add chrome into or that you add a certain amount of nickel into, or they add a certain amount of carbon into and these different variants that are added into the metal give the Steel’s and different properties and that gives the edge the blade, you know the way that the sharpness of that blade reacts to different forces that makes it react differently. So some types of steel are more brittle. But the so the like crack if you start axing with it, or, but that makes them like hard, I guess. And so that gives you stronger edge retention, so you can keep that edge sharp for a long time. But if it’s a durable type of steel, then maybe it’s got a softness to it. And so if you start doing a lot of extended cutting with that sharp blade, it’ll go dark on you faster, and you’ll have to re-sharpen the blade, and then it’ll lose its sharpness maybe a little faster. But then some blades will rust if they get wet. So if you got a sharp blade, and stays sharp, but rusts quickly when it gets wet at all and that’s like a pretty difficult knife to have around to and so people kind of choose a nice for different things, I guess it’s like boat knives or there’s, there’s a certain type of steel that’s used for people that are doing a lot of stuff on the ocean, like when they’re exposed to a lot of salt water. Do they use it’s not it like H-one steel? That doesn’t sound quite right but there’s a certain type of steel that they have, that’s that will not rust, but it’s like really hard and holds a really strong edge. And then there’s a whole bunch of different variations of hard Steel’s, you know, like Steel’s to have like some stronger amount or I guess tougher resistance to whatever elements are going to be exposed to so that the Gerber Gator that I have that’s a that’s D two steel I guess you can look these Steel’s that they’re going to be probably more informative some chart online will probably be more informative than my breakdown of stuff but they’ll kind of get into the chemical compounds of what makes these steels different and what makes them the knife blade better or worse for the function that you’re going for. But there is like a tear of not quite good enough for most things and then where people knife collectors are kind of trying to pick into for like higher quality knives and I think it’s it’s a good litmus test for how high quality your knife is so there’s some good Steel’s that make inexpensive knives so I think like for like Victorinox Swiss Army Knife you’re looking at like a 316 steel which I think now is like a pretty low-grade kind of steel even for a lot of buck knives I think it’s like the four sixteenths or something like there yeah it’s a little more for I think for Letterman’s two is sort of in that area. Then I think if you get into the essay or rat three knives you’re looking at 1095 steel which I think is like higher carbon steel.
14:10
I think you get like D two steel like this Gerber Gator is that sort of in the same zone. There’s also this other stuff this I think Chinese made Steel’s, that are I think it’s like seven cars I got a knife around here somewhere. But it’s a seven-car then there’s eight cars and nine cars and it’s got like a couple of other letters after two but I think the first couple is like a seven and eight or nine. I mean it’s kind of to the degree that it is good, let’s say for this or it’s like tough steel or whatever it is. But I think seven is sort of the lower grade. Kind of average-grade knife blade steel. A is pretty good in comparison to a lot of stuff and nine is sort of more of a premium and inexpensive steel option made by the Chinese manufacturers. So I have a couple of knives that I made with that. There’s also another steel called OS eight. I found that around several times and I think that’s in some higher-end, higher-end knife blade pieces also used by some higher-end knife manufacturers. I think with some stuff from Benchmade and some stuff from Spyderco I’ve seen in the OS eight Let me pull it out here. I was actually kind of thinking about Spyderco and Benchmade and the Columbia River Knife and tool. Let’s see what are those. Columbia River Knife and tool Benchmade is another one I’m trying to think of. It’s a port that’s like an Oregon-based knife company. I didn’t know that. I didn’t realize there were so many Oregon-based knife companies up around this area but then there’s also Spyderco that’s another knife manufacturer that I was I was looking at I think there’s a Japanese but I picked up a Spyderco knife recently. Those are a lot more expensive than the kind of like a lot of the average run-of-the-mill pocket knife so you’d probably pick it up in a lot of storage or you know a lot of more basic supermarket-style sources. I don’t know why you did a hunting knife at the supermarket but that’s it was a hunting knife it is just like useful folding knives that are good pocket knife tools. But I picked up the Spyderco knife and I noticed the differences in some of the quality of it just in kind of the way that the construction is the sharpness of the blade the way that it works and this is I think Vg 10 steel on the blade and then it’s got some sort of like what Paul polycarbonate nylon handle. Wow, whatever that is you know, but the handle works well I was also looking at G 10 which is another handle material that I see listed out there on several knives and that seems to be sort of one of the higher-end knife handle options I see that on like the higher end. Columbia River Knife and tool m 16 knives and I see that as an option for the nicer like Benchmade knives I was looking at some Benchmade knives like the reptilian I think that has a G 10 handle option. Also, the Benchmade bug out I was looking into that knife, and that I think has a G 10 handle too but I think that kind of provides sort of a kind of a powdery grip almost to it. I think it’s another kind of composite material. But it’s got a good grip on it so that you can still kind of maintain a handle even into this sort of wet or slippery conditions. For another knife, I used my carta on the handle which I think layered I tried to do this before on my own and I’ve seen someone make it themselves before too but I think it’s it’s like layered and then sanded down. Fiberglass, linen, or fiberglass and denim. Or like resin and denim or something like that but I saw that people kind of like layer, they’re like soak they kind of penetrate just like you take like a bunch of like little sheets
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of say like linen in this case but something kind of with like a fashion texture. But you take a bunch of sheets of this and then you penetrate that with fiberglass resin and then lay that down and then add another layer of it lay that down on that another layer and lay that down. And then you clamp all that together and then let it cure that makes this kind of like a real compressed brick of these stacked up pieces of fabric that are kind of interlaced together with each other and then they’re now fused and kind of frozen in place with this. This fiberglass resin is to like sort of this sort of solid block and then we were able to do is saw right through that and then you have this kind of solid and grippable sandable material that you can kind of scrape down and shape into whatever kind of size or shape piece you want. So I have some scales to a full tang pocket knife over here that has micarta handles and I think it’s kind of a cool handle type it works well for some of this stuff. But there’s also like a lot of other options out there or it’s that’s something that I thought about it when I got it and sort of what I think about like the G 10 handle stuff too is that there’s just like a lot of handle options out there and that’s kind of the tricky thing too is like like I look around it I don’t know how to get into it really but like I look around to like bushcrafting videos, you know, I might have talked about this before even or I’ve had the thoughts before to about I like bushcraft or like kind of the idea of a lot of like outdoorsmen ship stuff and a lot of like outdoors too. Travel and use the landscape and I think kind of having an understanding of that is cool. But the bushcrafting stuff sort of has some little twists or like sort of limitations to it that I think sometimes make it a little, a little goofy, but part of the idea is you have like a big knife almost close to a machete that you use for everything from buttoning down two inch thick trees, too, I guess, like just building a trap to hunt small animals to just straight hunting or combat or whatever it is, but supposed to be this kind of all-purpose wilderness tool. Those are cool knives. And I do have a couple of those in that size range. I like the forage size probably the most, a lot of the time. But for a lot of cool stuff. It’s like the five-inch knife like a five-inch full tang knife is cool if you’re going to try and do some of that stuff. But really at that point, or kind of my thinking route is like it’s almost too all-purpose of a tool that you’re trying to apply a knife to, you know, like, you don’t need, maybe to always do that sort of stuff with a knife. Now it’s cool when you understand how to use a knife. And then you can build out stuff while you’re in the woods or while you’re in the backcountry that you didn’t have to bring in with you. So that is a cool kind of survival mechanism, not even survivalists. But just when you’re in the woods, there’s a way that you can build out a lot of stuff that you would maybe think that you would need to bring with you just kind of a lot of like structural stuff that you can kind of set up or make some makeshift elements with if you know how to do some simple things with a knife. And I’ve heard of this practice system called the tri sticks, you can probably look that up like bushcraft try to stick or something like that. But it’s just a bushcraft skills thing where you go through with a twig, you know, like kind of a two-foot-long stick that’s about an inch and a half in diameter. And then you try out a bunch of these different cut maneuvers on it. So you kind of like a flat cut a scooped cut, sort of like a pointed carve, or to make like a dividend something or make you know just like all these different little pieces that you kind of go through and do. And I guess there’s like some little system of those that you can use those pieces on a stick as different tools to make, you know different things. Who knows what I’ve seen like snowshoes made, I’ve seen tables made, I’ve seen like fire pit cooking kitchens made, seen a few different pieces and stuff. So it’s kind of interesting to see what people can kind of throw together really a lot of the time I think what it was used for as a plan is what you see expressed by the bush crafters is you got a big knife, and then you whacked down a chunk of a tree, you make a stand to hold a pot over a fire to purify your water. And then you make sort of an A-frame to throw your tarp over so that you have your dry shelter. Now I think both of those are one of the least effective
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means of providing that thing in the outdoors. So like you know, I, I don’t know how to say it now. But it’s like, it’s good to know how to start a fire. And it’s good to know how to stay out in the wilderness if you only have a tarp. Also, it’s good to bring a tent and a sleeping bag. And it’s good to bring a jet boil, and some fuel, and a lighter. And those two things cut down on the amount of weird sort of dangers that you would have from exposure or risk of bad water, or whatever it is. So a lot of the time when I’m thinking about trying to do some outdoor stuff, it’s had to like cut down on a lot of the extra work or the extra danger of some of those risks that you’d have to sort of put yourself out into if you’re trying to drink unpurified water through a sort of haphazardly made heavy can over a fire pit for an hour or two or whatever it is or staying under a tarp when you have way better and less expensive survival gear or you know 10 hunting, camping gear, backpack and gear available to you. So I think that those are kind of the options to sort of steer into so that kind of brings me to what is a knife and what you do with a knife. And so for bushcrafting, you’re supposed to build everything that you would go camping with, and I kind of think well maybe that’s not really what I use a knife for or what a lot of people use a knife for it, I’ve seen it kind of more clearly express it like your night or like you could have a couple of different knives but it’s cool to have a knife that’s just for cutting and kind of keeping it as sort of as a more sacred discipline to keep that knife sharp so that they can do an effective job. Cutting, cutting into flash, if you need to do some hunting stuff or cutting ropes or cutting parts of whatever you’re trying to put together out in the outdoors. Whatever it is. So I think That’s kind of like some of the interesting stuff about doing some knife preparation stuff. And there’s a lot to get into a sharpening and different sharpening stones and some thoughts that I have about some sharpeners and sharpening stuff that I want to get into too. But I don’t know that kind of my wrap-it-up there for this part of the podcast. And I’ll probably come back with a part two things to do with your pocket knife that are useful when you’re doing some outdoor stuff. And I guess I can bring it around the photo stuff to kind of like what I’m saying is when I’m traveling light, and I’m outside in sort of more of my normal circumstances like two a half to three-inch folding pocket knife gets by, in almost every circumstance that I’ve needed, and I don’t need that big of a knife, I just need a small amount of that blade or you know, I need a small blade to be shy. But I think with that you can be effective. Like with a scalpel, you know, you can go through and do like a lot of significant and proper work with just a scalpel. And it doesn’t necessarily mean that a bigger or more broad or more thick blade is going to be a superior tool to just really the act of cutting and slicing or the act of trying to chop into something that you’re you’re trying to do with a pocket knife when you’re carrying around
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out in the woods with you. You can check out more information at Billy Newman photo comm you
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can go to Billy Newman photo.com Ford slash support. If you want to help me out and participate in the value-for-value model that we’re running this podcast with. If you receive some value out of some of the stuff that I was talking about, you’re welcome to help me out and send some value my way through the portal at Billy Newman photo comm forward slash support, you can also find more information there about Patreon and the way that I use it if you’re interested or if you’re more comfortable using Patreon that’s patreon.com forward slash Billy Newman photo
27:07
about these different features related to Logic Pro 10.5. So I think it’s like a general overview there’s one specifically about the live loops feature that I was mentioning is one of those premier new interface features. It’s now part of Logic Pro 10.5. In addition to that, I think they’ve created a step sequencer and a new sampler, I think they have a quick sampler now and they have a full sampler where you can go through and make your samples to make your loops. So you can be producing your music. And I think that I think it’s cool that kind of stuff that you can do. That’s a big update that they’ve done. I think they talked about like what is the Yes, yes, x 2427, or something like that. It was this old sampler, this old sampler software that was probably some third-party plugin that ended up being bought and then ended up being integrated into the logic that’s speculation, but the way that it looks, it just doesn’t look like Apple it ever designed it. So it’s like it’s just crazy looking kind of silver software with a ton of buttons and knobs instead of it looks like it was supposed to be some, some real object, you know, like, like if they made some, some actual pedal board, it looks like a drum machine or something. But it’s laid out as software in front of you. And it’s just impossible it seems to me to use so. So Apple went through and updated that, that kind of legacy piece. Some people are happy about it, some people are mad about it, and I see some people writing in forums Long live, the ESX sampler. And then everybody is plenty of people saying they’re happy to see it go that they’re happy to see it replaced by a more modern piece of a more modern utility. So there are a lot of cool features and that’s where you can get into recording and making your samples or, or taking a piece of music that you’ve already recorded. And having the sampler go through and auto-select these regions of it. So you can go through it with you your keyboard and you can trigger those regions with your keyboard to play that sound out. It’s fascinating the kind of sampling that you can do with it.
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Gosh, I mean, there’s just so much production you can do with it. So as it goes for podcasting, I wonder if I’m going to use logic I think I think logic, and honestly like most of the audio production stuff that they would do even to a small degree which me onyx OS got it’s nothing I could do this on my phone or not nothing on my phone is great, but just I’m not doing anything. Right. So so I might, you know, I stopped using sonar because it was kind of overkill to do the multi-tracking stuff. For just a podcast for some audio or mastering stuff. It seems like I have a grip on how to do the editing in logic maybe a little better than I do in the audition. Even though I’ve been using audition for years. I can’t have the same process and stuff but there’s sort of a way that this is something I don’t understand yet. And if someone that understands logic has listened to any of this, they should tell me about it. But it seems Like an audition when you have an audio file like a WAV loaded into the program and you’re looking at it and editing, editing it, if you were to apply an EQ effect or a compressor, once you have those settings and then you apply it, it’ll render that change to the WAV and you have to wait for it, you have to wait like 20 seconds when you apply it affects like a hard limiter, or compressor or a de Esser, and it’ll change the full waveform that you’re seeing there is in logic, it seems, I guess, more like a nondestructive editor where you have your original waveform in your track. And then over in the mixer, you can apply sends, or you can apply these effects as a stack that you can turn on and off. And it’ll kind of live mix that section of audio that you’re hearing. So you can stack on a compressor first change those settings and stack on an EQ and then stack on a de Esser and then stack on a limiter or something at the end of that or a limiter on your master output. Something I don’t know, I think that’s how you’re supposed to do it. So you can do that. And then you can change those settings and you’re not adapting the original wave for when you’re not doing you’re not doing that at a stage where if you turn one on or one-off, that you’re kind of rendering the whole file in advance. I don’t know if I have that right. But that’s something I’m trying to figure out. So some things that you notice from that is an audition or programs that kind of bake in the setting effect that you’re making a change to seem to operate a lot faster I think is the track is sort of rendered and frozen and is the process is not having to do any live rendering of added effects on top of the file that’s already trying to have to have to grab that file and then play that file and then add another layer of digital processing to the selected through changing settings and then render those settings to the WAV file as it plays it without much latency. Man, it just sounds like a lot of tasks to do. So I guess when you have like a bigger logic project with 24 instrument tracks, all with compressors, and limiters and in whatever other effects changes there are on it. It’s just really processor intensive. And I’ve already noticed even just with a few of the smaller demo projects that they have installed with it, and even with my computer being okay, it’s already like hit like a CPU overload a few times and logic. Larger producers have talked about this a ton of times, there are a bunch of videos out there on like how to stop your CPU overload messages, and some of its talking about changing your buffer size. So it’s talking about selecting tracks and freezing them. There’s a process called freezing tracks sort of similar to what we just talked about with addition where you’re kind of baking in or rendering that track out so that the processor doesn’t have to worry about it anymore. And then from there on, you can just kind of mix on the single track that you’re working on at that time. If you’re working on a multitrack project, you select the guitar, but then you can freeze all the drums so that whatever mix that they whatever mix state they were in, the computer doesn’t have to worry about processing, it only worries about processing the live effects on that single guitar track in the sense that you’re making changes to it’s cool. There are a few different features and stuff you can do to it. And it’s interesting how all these different digital audio workstation controls have come up over the years. I think like for this logic stuff, you know, this is what they’re trying to sell Mac Pros for I’m sure even a Mac Mini would be a killer logic workstation for a studio but be either like that new Mac Pro, that gnarly one with you know, 128 cores, I think one of the things that we’re trying to demonstrate with that is, you know, with the, with a massive amount of core and what is it probably like eight or 12 or something for the more standard one.
33:58
I think that is the whole background of getting you to know, a ton of RAM and a ton of processor space and a ton of cores was to do some of these larger studio mixes of logic projects, you know, say if you have a symphony, or you have like a full orchestra or something that you’re trying to do a mix of, you have these live effects and compressors running on every track. And you could have up to you know, 100 or 1000 tracks or something running with these lives these live effects that have to be processed on it. And so the idea was I heard this at other times that larger students will take would take Mac pros and run them in tandem so that they would have as many tracks as that individual Mac Pro could have, and then that would be busted down. That’d be bust down into another mixer where they would have all of those. Is that make sense? Yeah, they would have let’s say like, I don’t know, let’s say 100 tracks would be on Mac Pro one. And then they would have 300 tracks in total. So they’d have Mac Pro two and three and each of those would have 100 tracks that it was responsible for operating in logic, and then it would run in tandem and then be mixed out to a bus. So you’d have all those tracks rendered down into the 300 onto, their channels. And it’s crazy stuff, but it’s kind of just like a reduction process, they don’t need to do that anymore, apparently, because the as what they’re trying to sell, you know, these, the newer Mac pros are if you max out a computer to its fullest, you can kind of handle some of these larger processor-intensive projects like that. In response to that, man, I remember in 2003 years and cool Edit Pro to do 24-track multitrack projects on a computer with 800 megahertz and I didn’t have a problem with it. So I’m not really quite sure what I’m understanding about logic, or about audio production stuff in that, and I capacity seems like there are some other tools or other utilities around not tools, but just some other concepts, right? That allows you to do stuff without some of the limits. Some of the processor limitations, that’s always kind of frustrating with the technology kind of gets in there to fight with you, but I’m sure that the intent of it is that you do more live processing, that means you have to, you have to do less rendering time on each track. And, man, the mixing process can be frustrating if you have to render out a million different variations of changes, which is kind of different projects that I’ve gotten stuck in over the years. So, man, I don’t know, we’ll see how it goes. But it’s cool. Yeah, been trying out Logic Pro 10.5 in the studio staff learning some keyboard controls, learning how to run some live loops, but trying to mess around with some different mixes and stuff. It’s cool. Yeah, he just grabbed those loops around me and I can make them, what I’ve been trying to do is make a drum bass and sort of texture sound loop that kind of has a couple of changes in it. And then I can take a guitar, plug it into the audio interface set effects that are built into logic, you can pull up like a pedal board and logic and then have that adapt the sound of your incoming real instrument and then run that into a track or even just play alive into a track and then have those live loops kind of running on the side of it. So you can kind of create like, you know, like a jam loop or something you know, you don’t have a band to play with. So you can kind of create a couple of other instruments that have pieces, and then that is going to the key that is going to repeat and then you can kind of find whatever it is in the guitar that you want to kind of work out an idea or work on playing through something so it’s kind of cool, I’ve been trying that out a bit too. And then once you do have an idea, it’s easy to just kind of lay that down into a track and create a demo out of it. Thanks a lot for checking out this episode of The Billy Newman photo podcast Hope you guys check out some stuff on Billy Newman photo.com few new things up there some stuff on the homepage some good links to other outbound sources. some links to books and links to some podcasts like this blog posts are pretty cool. Yeah, check it out at Billy numina photo deco thanks level listening to this episode and the back end. Thank you next time