iServalan made the first official music video for Tale Teller Club using Final Cut Pro and Sora AI

www.taletellerclub.bandcamp.co...

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Episode Transcript

Speaker 1 (00:00):
Hello Internet, Welcome to the four post bed. I've been up.
I think it's around about eleven and I briefly rose
went into the kitchen, made a bit of food and
a coffee, and I've been swinging in the swinging chair
for some time, just letting the day go by. And

(00:21):
I have to say, an absolute pleasure just to do nothing.
Had a really constructive week with the Book of Immersion.
I'm ready to do the next episode, which will be
chapter twenty four, right and looking forward to that. Might
start it tonight, definitely do it tomorrow. So that's really exciting.
But the big news, I suppose is that I did

(00:42):
my first music video using music from the Book of Immersion. Now,
when I write the Book of Immersion and when I
do the animations, the reading was I sort of you know.
My method was to read the story of get an
Ai to read it, an Ai voice to read it,

(01:04):
and overlay it with visuals animations, artify them, get the
results I wanted within the capabilities of the software that
I can afford. That's always the issue, isn't it. You know,
to make a film, you can spend millions and you
still have to be savvy about you know, there are

(01:25):
still restrictions you have to abide by, and when you're
a pauper such as myself, the restrictions are rigid. There
is no flexibility whatsoever. So I've been experimenting with lots
of different pieces of software. So cap cut I've got
it for another month, but I don't think I'm going

(01:47):
to use it after this month because it's a bit
clunky for what it can offer. What it offers is
a lot of fancy lights and shimmers for very short videos.
You can't really use those, you know, those that citivation
in a long video because I'm very boring if you

(02:10):
use it for any time. So it was absolutely wonderful
for making me look beautiful. So I will be doing
a couple of videos probably this week before I run out,
to last me the full year, hopefully, even if they're
just you know, if I just sit there and read
a chapter and then I can split it up into

(02:30):
chunks and put them out on the YouTube. Remembering I'm
not a fan of YouTube in you know, I just
hate all this algorithm stuff Facebook as well. Every time
I put up something that is vaguely critical or not
even critical towards Israel. But you know, in support of

(02:53):
murdered children in Palestine. Perhaps I should frame it that way,
the default being a critical of Israel, and it isn't.
It's the default they assume Facebook assumes, and any comment
or anything supporting you know, Palestinian food or rights or

(03:19):
human rights or anything like that is completely and utterly
it just disappears into the ether. Nobody sees it, and
that's the algorithm. So you know, they shadow about you. Basically,
it's just like, oh god, it's pathetic again, really childish,
just so childish. You know, grown ups can make up
their own opinions. They don't need Facebook to tell them

(03:41):
what to think, do they. So anyway, yes, where was
I the shorts? I really did like the shorts for
each chapter of Immersion. However, there's a lot of work
for one little chapter. I suppose they're quite big chat well, say,

(04:02):
let's say there are a thousand words. I'm guessing they are,
but anywhere between about eight hundred and fifteen hundred words,
so not huge chapters. But to do the you know,
to get the clips, remembering, I'm using AI because I
don't I can't pay actors, and nobody wants to see
my old mug on, you know, starring in every single

(04:24):
episode unless it's been put through the Hollywood filter on
cap cut of course, in which case, Yeah, but that's
costing twenty pounds a month. It's a lot of money.
So yeah, I've kind of been thinking how can I
maximize the use of my time and monetize each video?

(04:45):
And the obvious solution is, as I'm putting all my
tracks on band Camp to make a video for them,
it's three minutes long. It takes just as long to
make a sixty second epic video movie style as it
does to make the three I think it's four minutes

(05:06):
forty yesterday. You can use the clips for a bit longer,
and you can do a bit more massaging. You can
use a bit more slow mow loads of effects, really
cool effects. This is just using final Cut Pro. It's
got so many different softwares that I use, so this

(05:28):
is using Final Cut Pro. Which is the only thing
I hate about it is that the buttons sometimes don't
seem to work. They're much better if you make everything big.
So if you're on your iPad, which I am, you know,
just enlarge the screen and to do it that way.
So somebody's been very noisy on the roof. I don't
know if you can hear that. It's been happening a

(05:49):
lot lately. It must be doing stuff anyway. I was
very pleased with the film. Look, it was a bit
it's a bit cheesy. It's not the best art work
I've ever created. But the you know, the point of it,
I suppose, is not to distract too much from the song.

(06:12):
So the song is takes precedence proceedings. As the Americans say,
you know, if you have too many visuals going on,
it might be too difficult to hear what's happening in
the lyrics, and vice versa. I guess, I guess, although
you know, I mean, I would put myself as a

(06:33):
musician top of the pyramid if I was going, if
I was forced to do one. The music's at the top,
and then under that comes you know, the other stuff
art probably, and then writing probably, and then under that
lunch obviously. So I'm pleased with it because it doesn't

(06:55):
distract too much. Because I kind of dig the way
that I've done some massaging of it and making it palatable.
I'm sure I get better at them. I'm not too
concerned about living within the confines of the software that's
available to me. A long time ago, when we all

(07:19):
first started doing YouTube, there was a software thing, was
it Pericassa. I think it was called Pokassa, and it
was something to do with Google, and they had all
these things that you could do to pictures were They
stopped it after a bit and I'd done, you know,
loads of sort of projects I'd completed using just that,

(07:41):
especially artworks. It's really good for filtering and stuff like that.
And when they got rid of it, well, several things happened.
I mean, one thing that happened was I could no
longer access all the stuff on the Pokassa account or
whatever it was. You know, I lost loads of stuff,
and I had saved it because I didn't value it.

(08:02):
And now I look back and I just think I
really should have kept all that because I can see
some of the work that I did using that, and
it actually looks really retro and interesting because it's not
around anymore, so it's different. So if you've got old stuff,
it's really worth just keeping it, even if it was

(08:23):
low level, you know, poor quality. A lot of my
stuff was done, a lot of my stills were taken
on a Sony movie cam, and of course when you
take a still the qualities not particularly good. That needs
to be much. It doesn't need to be so sharp
when you're doing TV. Well, of course they've bought out,

(08:46):
brought out four K, six K, eight K. Now AI
is making everything really sharp. So there's this sort of
real push towards absolute high definition. I don't I'm not
quite sure I get it because we don't see in HD. Well,

(09:07):
certainly when you're older you don't. You know, everything's got
a blurry edge. Now to me with my vision, yes, romere,
and I can't like it. When I put my glasses on,
things look very different and they don't look nearly so nice.
So yeah, anyway, I've learned my lesson about not chuck it, A,

(09:28):
not checking stuff away, b backing, backing stuff up and
see seeing the value in it, you know, having that
vintage aura about something. You know it's the fashion, isn't it?
And it sort of comes around again And now of
course they're trying to put filters on it. If you

(09:49):
go to capcut, they're trying to put filters onto or
you know, your video or your photographs that make it
look naughties eighties, nineties, seventies, sixties. But if you kept
your stuff well, I mean, the Internet hasn't gone that long.
But from the noughty certainly. When I studied first, I

(10:09):
went to university and studied film. I did a master's
in film at Edinburgh UNI, and when I look at
the stuff that I made there, I just said, Wow,
it's got a really lovely quality tit. But it's you know,
it's not HD. I mean it was HD then, it's
not HD now quite the opposite, Quite the opposite. So anyway,

(10:30):
get back to working within the confines of my equipment.
So I'm using Final Cut Pro on my iPad right
now because I have terrible neck pain and RSI from
the years and years of editing. I do most of
my work with my back supported in bed and sometimes

(10:50):
I'm practically flat. And the lovely thing about an iPad is,
you know, if you put your knees up, you can
lean your iPad there and you can do what whatever
for it is, so you can actually edit a whole
film in that position, and that's what I have to do.
I don't know if it's being you know, worse than
because of arthritis. It may well be that. You know

(11:11):
that I've got arthritis now in my neck, probably caused
by the same thing. So yeah, cap cut is probably
going to go. I've got a free three sixty video
thing that I downloaded, but I've got a problem with
my GoPro at the moment. I can't get the footage off,

(11:33):
so I've always just got it off with Wi Fi,
but it doesn't seem to be working, so I have
to figure out how to transfer the three D of
the off of the card. It's probably much quicker, probably
much easier, onto my Mac, my Big Mac, the Big
Girls Mac. I've got a Big Girls Mac, so I'll
be using that. I think it's called three sixty video.

(11:55):
I think it's as simple as that, and it's really
very good at what it It's perfect for what I need.
So capcut doesn't do three sixty. I mean I don't
do a lot of three sixty. The footage that I
take for the kids show, the Bugsye View is all
was all done on my phone this week, and the
zoom is a bit blurry. But I kind of like

(12:18):
that look. I kind of appreciate it. But I don't
know if I'm alone in that. I'm not sure you'll
be the judge if you pop over to Tailteller Kids
on YouTube or the fan club is that. We've got
a fan club now as well, which is over on Gumroad,
So that's Tailtellerkids dot gum road dot com. Yeah, I

(12:39):
think that sounds about right, no idea. Actually I really
should know the names of my own websites. But if you,
I mean, if you go to any of the websites,
you can find the kids section. It's quite easy to
find to source. And it's also on the YouTube. You
go to YouTube and it's there on the bio, so
that's straightforward enough, you'll find it. But I really like this,

(13:04):
you know, it's the opposite to sort of really overstimulation,
this slightly almost romanticized footage, you know, of insects. I
got some footage of a damselfly which was really nice.
And the place where I was staying was there was

(13:31):
no pollution there. It was a huge estate with no
cars and you can you could really tell from the
blackberries the BlackBerry growth and probably because no dogs were
paying on them as well. Probably. So yeah, keeping keeping
to that, and what software did I use for that?
I used Final cut Pro entirely for those little videos.

(13:57):
So having completed the first, which goes with my track
Mister Capricious, which is now on band Camp and gum Road,
I think as well. Actually I sort of sort of
doubling up where you can buy it as a single
that I'm doing a bit of an experiment. I took
it off Apple and everywhere just to see what would happen,

(14:19):
to see If I don't know, I'll probably put it
back on iTunes because I really want to write new
stuff now, and you know, think about that, think about
moving forward rather than worrying about the back catalog. You know,
I'm really itching to get going making some new music.
So if you want to know more about my more

(14:40):
the more personal sides of the musicianship and everything, pop
over to my I Serve Alarm podcasts. There's a bit
less tech. No it's not. They're both the same, really,
I mean, I just talk on that as well,