Lessons

Lesson Info

Building the Film in Post-Production

Now, one thing I wanna talk about the reason why I have this timeline named base is because everything I do, I always build a base for something. So when we go through this, I wanna make this point about editing. It is significantly, is that camera on? It's significantly easier to modify something that exists than to create something from nothing, remember that. Because what we have right here is an empty timeline. So we're far away from the finish line. We wanna get as far away from this blank timeline as possible. So the rough cut, the first cut I make of this film, we'll just lay it down almost as quickly as we possibly can so we can get away from this blank timeline. So instead of saying, "Well, what clip goes next? "What should we do here? "What should we do there?" We have a narrative base as I like to call it. And then from that, we start to massage it and we make tweaks to this and this audio clip here, and this clips too long, let's shorten it. I don't like this shot, this sho...

t's to overexposed, this shot's underexposed. We wanna be there. So every single project I've ever done in my life and ever will do, how I edit it is I get through the rough cut as quickly as possible. And I don't worry about the little tweaks. I don't try to make it perfect as I go along because as your film evolves, the way you're gonna edit it is gonna evolve. So for example, if I edit a wedding and I'm sitting there for six hours trying to edit the first 30 seconds and I could be so proud of myself and I'm done and I've gotten it perfect, and guess what? Once I get to the second minute of that film, the intro is probably going to change. So you've just wasted your time. So instead of trying to go perfectly, as you go, you wanna go in a circle, you wanna go through it over and over again. And that you don't really know it's an edit, a cut works until you see how it leads into it. So you've gotta watch it from the top. You gotta keep watching it over and over again. That's why Jeff's role is so important is because by the time I'm done this and I say, "It's done, it's perfect." My opinion is so skewed and so biased, and I'm so numb. I've seen every clip of this, about 850 times. Whereas, if I give it to someone who's never seen it before, he's gonna look at it with a totally fresh pair of eyes and a fresh opinion and have different things to say about it that I might be numb to seeing. So that's why it's really important. I say, never put anything out until you've let some strangers, who've never seen it, watch it. It's kind of similar to when you're editing photos, have you ever gone into Photoshop and you've done some color correction and this and that, and you're staring at the same image the whole time and it's evolving before your eyes. And when you're done, you look at it and you're like, "This looks really good." Like, "This is exactly the way I want it." You close the project. Then you open it back up like an hour later without having gone through that process. And you're like, "Oh God, what is wrong with this?" Or similarly, when be done you say, "This looks really good." And then you bring up the JPEG for reference kind of where you started and it looks better than everything you just did, we've all been through that. So it's kind of similar to that. So let's start, now when you're doing commercials and this narrative film and things of that nature, you're gonna have multiple takes of things. A lot of times, if I'm trying to get through the cut quickly, that first cut, I'll always go to the last take of the shot because it's usually 710 times gonna be the best, as far as the performance of the on-camera talent is concerned. That doesn't mean that's the rule of thumb and that's always gonna be that way. But if you're gonna go through and get a narrative part down quickly, that's probably your safest bet. And then once we are done with the narrative part, then we go through all the takes and we start to look, "All right, I like the way you said this line here. "I like the way you said that there, "I like the way you said this here." So, this is all about getting it over as quickly as possible. So, the first thing I wanna do is I wanna have a medium shot of Kevin waiting for Action Man. I'm not gonna start with that wide shot. I'm gonna start with this. And like we saw before, I'm gonna make this screen full screen here. Like we saw before in the original, when we had Jeff play Action Man's back and shoulder. So we have him starting here and I'm just gonna play. And I have my fingers on the I and O keys, so I can make my in and out points while it's playing. What did you do to get your screen degree, full screen like that? I pressed, I don't know what the name of this-- The tilde. The tilde, is that what it's called? Well, that was the active screen you press the tilde-- Yeah, I don't know the name of it, but I know what buttons-- It's to the left of the one. Yeah, okay, so I'm gonna press play. Rolling (mumbles) and action. I'm gonna go back here 'cause I want him to pull that phone out in the shot, make my in points there-- Sorry, I'm 42 seconds late. Okay, that's gonna be our first shot there. And I'm gonna drag this down to the timeline. Now, of course we have audio that's not Kevin, which doesn't matter because we're going to get the audio from Kevin. So that's how I want my first shot to start. And I'm not gonna mess with the audio yet, I'm just gonna put that on the timeline, 'cause remember we're not being stingy. We're not trying to make this perfect, we're just trying to get the visual part down and we will get into the audio and audio editing later on. I'm gonna go to our crop shot that we used. And I wanna point out that this shoulder shot, the shot we just selected, was a safety shot. Realistically, I don't ever have to show the two shot if I don't want to and this film would work. Of course, it would feel like it doesn't have any context and where the characters are placed in the scene would feel like it has no context. So we wanna use the two shots. But I'm just saying that because we attempted the cropping of the two shots, there's a lot of problems that could happen there. And it could cause us not to use it in editing. So we needed a safety to, if you try something really creative like we did yesterday, that has chances of failure for whatever reason, always shoot a backup or safety, so that in case stuff happens, insurance, right? So let's go to the last shot of Action Man, entering the scene and let's pick a shot of him coming into the scene And Rolling, and action. Sorry, I'm a 42 seconds late, there was traffic. Is that a cell phone? And what I'm doing when I'm back tracking there, I'm just pressing the arrows in the direction I want the cursor to go so I can make my outpoint right where I want it. Is that a cell phone? And I just, as soon as he says, "Is that a cell phone?" That's where I want my outpoint to go. Now I'm gomma bring this on the timeline. And I wanna make this very, very important point here. When I just dropped that clip onto the timeline. This is editing, this is how you do it. The universe doesn't explode. There's no shooting stars, the planets don't line up. It's one clip ends, the next clip begins. One clip ends, the next clip begins. The magic is in the story, the magic is in the pace, not in the actual act of editing. If you can drag clips onto the timeline, theoretically, you can edit, all right? So I'm gonna go to the last shot of Kevin of when we use the clip 73, 84. And I'm gonna find his response to, "Is that a cell phone?" Sorry, I'm late 42 seconds late, there was traffic. Is that a cellphone? Ah, no, it's a heart rate monitor. Traffic, I thought you traveled by boat? All right, and that's all I really want from the two shots. So the key here is gonna be making the crop work and the timing of the line. So that's what will dictate what's going on here. Sorry, I'm 42 seconds late, there was traffic. Is that a cell phone? So why am I putting this clip on the back end of this? Because number one, I want the response, "Is that a cell phone? Then his response, they need to come back to back. The second thing is I'm putting this on a new video track is because I'm gonna have to drag this video clip actually on top here like this. So what I'm gonna do is I'm gonna hold Alt, and I'm gonna drag this video on top here so that when he has his response, I'm gonna move the audio to be even here. So now you see me, so here's where we're gonna get crop up in here. So I'm going to go to the effects bin. I'm gonna go to video effects. I'm gonna go to transform and I'm gonna go to crop and I'm gonna drag of the crop, right? I'm gonna hold down the mouse on the crop and I'm gonna to just drag it right on the clip and drop it. So you see that green line that just popped up on top of that clip? That means the clip is now effected. So I can double click this clip and it's gonna pop up in our source screen, which we originally made the in and out points in. I'm gonna go to effects control. And this is where I effect the crop. And this is where I'm gonna make the line. And this is where we're gonna see if it works. I'm really putting myself out here, so if it doesn't work, I apologize. I'm gonna crop from the right, I'm sorry. I'm gonna crop from the left side. I don't know why right from the left. And you're gonna see once I'd start to drag this cursor right here to the right, you're gonna see me disappear and Action Man come in on the right where I'm sitting on the playback screen and you can see the line move across the screen there. And the idea for us is to hide that crop line the best we can. And you can see right there full screen that it's kind of working. We'll have to do a little adjustment, but for the most part, it's pretty solid. Sorry, I'm 42 seconds late, there was traffic. Is that a cell phone? Ah no, it's a heart rate monitor. Traffic, I thought you traveled by boat? The basic theory of conversations and film scenes and shot sequences is start wide and work your way in. So we started medium because there was only one person there with this first shot here. And we wanted to establish Kevin. And we don't necessarily wanna give away the idea that someone's gonna be sitting at that table. So we start with Kevin to establish his character first. Then when we cut to the wide shot, it's sort of, remember there's a climax in every film, there's a climax in every scene and there's a climax in every shot sequence. And there should even be climaxes between cuts. What's the climax here? Somebody's sitting, who is it? Right, then we reveal. So every little second has a climax. And that's how you have to think about in editing, every little reveal is the viewer being given a gift, think about it that way, right? So every reveal is a viewer being given a gift. So let's find Action Man medium shot and see if we can get a reaction from him. And we'll go to the last one as usual. Again, we're not gonna get into watching every take until later Don't you travel by boat? Whatever, do you mind telling me what? Okay, so I like his reaction there, which is pretty good. He even makes a noise and we'll probably have good dialogue for that because the mic was over top of him. And I let it go a little bit into Kevin's next line. And I'm gonna show you why I did that in a second. All right, then I'm gonna go into a shot of Kevin with his line, I'm gonna find his next line, which is let's find out, "Whatever, why don't you tell me why I'm here?" Okay, so I'm gonna bring our previous clip up and I'm gonna move the audio away. So let's find out where he says his reaction. For that big line there, I'm gonna press Alt, and I'm gonna move the audio both tracks over here, okay, here we go. Do you mind telling me what this meeting's about? And I'm gonna just bring this right there. Here we go, do you mind telling me what this meeting's about? All right, very important. Learn this 'cause this is probably the most important thing I can teach you, which is called an L cut. And here's why this is called an L cut, is basically what you're hearing, Kevin's beginning of his response before you actually see him, it's just another example of a little mini climax. I wanna see him talk. So when the cut happens in the middle of the conversation, in the middle of the spoken words, the cut is disguised by the audio, you've already seen it. So for example here. So I'm gonna play this here full screen. This would not be the proper cut, right here. Do you mind telling me what this meeting's about? It works, I'm not saying it doesn't work. I'm just saying that it can be better if we do it this way. And we bring in that audio a lot earlier so that when the cut happens, we're too engaged to know what Kevin saying to think about the cut. And the best cut is when you do not see. Here we go, do you mind telling me what this meeting's about? And then I would probably move the cut a little bit more so you don't hear that. And so it happens right on that. What he just shared with you is one of the kind of our hard moments in editing. When you hear somebody's voice without seeing their face, you've just primed the brain to expect to see something. And it's all these little subtle things that create interest in your film and storytelling in your film. If every single clip that you have, you're showing somebody speaking and when they're speaking, you see the person. And then when somebody else is speaking, you see the person that's (mumbles) right? Yes, which will happen in this film a little bit because it's comedy, But if every clip that you see is like that, then you've never primed the brain to expect anything different. You'd never get me something to be like, "Oh, I hear a voice, where's that coming from? "What am I about to see?" When you use L cutting, you automatically increase interest and intrigue in your film because of that, because you're priming the brain to expect to see something different in a few seconds, 'cause you're hearing it first. Does that make sense to everybody? And another thing to that one very important, half of the idea of an L cut is the power is not just in the words. The power is sometimes in the reaction to the words. So to make a conversation, feel like a conversation, if Jeff and I are having a conversation right now, it wouldn't just be about him saying, "Ross, your hair is way crazy today." My reaction to that would be the punchline to that joke, right? So I would be like, "What do you mean? "At least I have hair, right?" You would wanna see my reaction before I said my line. So it's about what Jeff explained about anticipating who's talking and the reaction. So you'll see this happen and we've already done it before, why I chose this first take of him, and he goes (mumbles)? We did that for his reaction specifically and for no other reason. Okay, now here we're gonna get into our first cutaway of the story here. And we're gonna get the shot of the Photoshop. Now in my vision of this, I wanted to show the empty table. Let's get to the shot so you can see exactly what I'm talking about here, the empty table right here. And then you see the DVD come into play. That's already not gonna work, I could tell you that right now, but if we want to hear what's going on with the audio of what we're seeing here so (mumbles) That's all about When we get there, we're gonna let that audio, right, but show this clip, so let me do this and then I'll explain what I did here. So I'm gonna start here and I'm gonna end there. And the reason why I'm ending there is because when he pulls it back, I will cut to, and somebody asked this question yesterday about does it matter about where the placement of the movie is in this shot? And the answer is no, and here's exactly why. So I hope that person is tuning in so they can see why it doesn't matter. So let's find out where ideal end point is for this That's all about it. I'm gonna place this right on top here. And I'm just gonna get rid of the audio for this because we don't need it. So I'm gonna hold Alt, and I'm gonna delete it, so-- Didn't we record boom audio for that? Yes, but we don't need it because we're using the audio from the prior tape, when we go in to line up the audio, we'll get the clean sound of the movie hitting the table. And let's say, we forgot to get me a movie hitting the table, guess what we would be doing at lunch break. We would be going over to the table, throwing any DVD on the table and recording sound. [Participant} With a-- with a boom shotgun mic, any mic, really? But if you don't have it, whatever mic you used, you use the same mic. And if you don't have it clean, you just get that. That's something that you can get after the fact. Do you mind telling me that's all about? Okay, so now we're gonna find Kevin picking that up and that's probably gonna be best in a medium shot so we can see him actually pick it up. Tell me what this meeting's all about. It's my movie, Ah, my movie, '"How to Photoshop everyone." Excuse me, my movie. That's clearly me, see Kevin with a K, Kubota with a K. All right, going too far here, so let's back up. My movie, "How to Photoshop everyone." Now, right there when he says, "Ah my movie, how to Photoshop everyone." That's the time to show a reaction of Action Man. Being like, "What, how could you say such thing it's blasphemy?" Right, and all of that is said in the facial expressions, because we show, we don't tell. So let's see if we can make this match perfectly with him picking it up. so we're gonna get that perfectly there, right there. It's all about my movie. I need you to see that that's getting very seamless and I'm going to make it even more seamless in a second. Let me just Alt here, bring this audio here, bring this audio here, I'm gonna bring this up so we stay organized and everything's on the same track. Okay, now you have something. Yeah, did you wanna show this moving slightly instead of just static it's there on the table? No, because then we would get into the problem that our friend brought up yesterday about the continuity of where the movie is. The more attention we draw to that, the more perfect we have to be. And we more wanna use the sound of it hitting because, and this is a great question actually is do we wanna draw attention and show the movement of the movie? We could, but really what matters in this scene is everyone's reaction to what's being said. So it's just more about the people. We obviously wanna show it. When we get into the tweaks and the audio, when you find some clean way to make it happen, it's possible. But really it's about making him pick it up seamlessly as opposed to throwing it seamlessly. 'Cause I thought, when I watched this clip of you tossing it, that we could actually show the action of him moving it. So then I would never even use this clip at all. And I actually I'll show an example of that, of why, if we could eliminate this clip altogether. That's all about. Ah, my movie. I just wanna make sure this cut works. Do you guys see what I'm doing there? Yeah. Everyone at home, see what I'm doing there and I'm gonna make it big screen here. So you guys really can see it. Look at his thumb. So the moment his thumb touches that and starts to slide, see how his thumb is not there yet, that's our cut point. That's where we want the clip to cut. So I'm gonna go here and drag it and I'm gonna move it over and now watch it. Ah, my movie, See how much more seamless that cut is. And you always have three frames, right? Yeah, three frames it's not three seconds. It's 3, 24, of a second. 3, 24, of a second. And that's how you think about editing. Not in seconds, but in frames. First thing I wanna do right now is I wanna watch the whole thing and just see how the conversation is flowing, so let's do that. Sorry, I'm 42 seconds late, there was traffic. Is that a cell phone? Ah no, it's a heart rate monitor. Traffic, I thought you traveled by boat? (laughs) here we go. Do you mind telling me what this meeting's about? Mind telling me that's all about? Ah, my movie, "How to Photoshop everyone." That, excuse me, my movie. Even though that's clearly me see Kevin with a K, Kubota with a K. See, that's where you're confused because that's me on the cover Action Man, with an A. I think you're the one that's confused because that is clearly me see. Kidding me, I didn't even look like you, the bone structures, that's me. What's the point of this meeting. I'm glad you asked. I only leave my cabin, if it's really important. I got a visit from a girl, her name is Alison. You know who I'm talking about? I do. She wanted me to teach her about actions. I'm aware. So I showed her about actions. The next thing I know it's on this DVD. How do you explain that? It's good stuff on there. We had to make a movie and share with the world. That's cool, right? No, It's not cool. I spent 60 years in the woods in isolation and the first person I led to my cabin. The next thing, I'm starring a movie. Costarring. I'm the star. Technically you're supporting role. It's not really important. That's why I came here, okay. I blew up my cabin in the woods, blew up the land the around it, escaped in my boat. And frankly, I think it's time for me to make a reappearance to the world. What we're gonna do is line up all the audio right now because it's gonna really change the way we tweak this film, I'm not even gonna watch it back and waste time doing that. I just wanna get the audio situated. So quick way to do this is because I've already landed up with pluralize on here. I can just use that as a source file. So first clip, 73, 97, bang. So I'm gonna go to 73, 97, and we're gonna go and find that. And this is very tedious work here. So there we go and I know this is the part I need. Sorry, I'm 42 seconds late, traffic. Is that at a cell phone? So I'm going to grab this, grab this, and I'm going to copy here, actually a better way to do this will be to hit the source screen button. So what I would do is just an easier way would be to right click on any clip, any audio clip, anything on your timeline. If you wanna find it in your project, you just go right click reveal in project. It'll automatically bring it up there. So let's get our audio bin there. No, this is a heart rate monitor. Traffic, I thought that you traveled by boat? Okay, so we go here. Oh, you guys are gonna have a problem now 'cause I'm going to keep doing that over and over again. So ride that audio mixer. Sorry. I'm 42 seconds late, there was traffic. Is that a cell phone? Ah no, It's a heart rate monitor. So actually what we really need the audio for that the line would be 73, 84. But you can do this for now, right? Do what for now? You can-- I'm not going on down there, yeah, but I don't want the steps from that just yet, because I was gonna be significantly harder to line up. What number did I say? 73, 84. 84, yeah. 73, 84, you can see why pluralize is so useful because now we don't have to worry about which clip is it. And we just reveal it in the project. Sorry, I'm late 42 seconds late, traffic. Is that a cell phone? Ah no, it's a heart rate monitor. Traffic, I thought you travelled by boat? Okay, so bring this down. Question. Yes. If you hadn't taken out the pluralized part, because none of us had it, would this have already been done? Would that have been part of your cropping? No, I actually wouldn't have done it because it's a narrative like this, a conversation, so I like to edit. That's just the clips and not let the audio slow me down. And I would just do this manually, just like this right now on this specific type of film. But another way to go about doing this, which you normally wouldn't do, but you can also just start with the sync timeline. And edit off of that timeline. And pull clips over from that, correct? Yes. Over onto the main timeline. Yes. And he chose not to do it that way 'cause he wanted specifically for all of you to see how he's using the bin and interacting with the bin. But if you didn't wanna mess with lining up audio at all, you could just go to the sync timeline and pull over the individual pieces that way. And then the audio would come over with it. Yeah, and you'll see it doesn't really take that long. It's kind of tedious, but the best way to do it for me is find the spot where it ends so-- It's a heart rate, monitor. Traffic, I thought you traveled by boat? So I thought you traveled by boat, Traffic, is that a cellphone? Ah no, it's a heart rate monitor. Traffic, I thought you traveled by boat? Boom, let me just bring this clip down right there. And here's how you know, if something's lined up, the first thing you can look at the audio wave and tell and see where the peaks are. So I zoom all the way in here and I can see that it's slightly off a little bit. So I'm just gonna shorten it at the end here. And I'm gonna zoom all the way in. I'm gonna move it over two frames and we should be good. And how you know, it's off is if there's an echo, you'll hear an echo. Monitor, traffic, I thought you traveled by boast? So that's solid, so let's right click. I'm gonna unlink this audio. I'm gonna get rid of it completely. This is the auto that was linked automatically because it was recorded on camera. And you have to go through a manual process to get that audio and then delete it, two separate processes. Ah no, it's a heart rate monitor. Traffic, I thought you traveled by boat? So you can see how much cleaner that microphone is than our other microphone, our onboard microphone. Now, if we in a pinch (mumbles) microphone would work, but it's obviously not ideal for the situation. I wanna teach a couple more things, 'cause I see the time is running down. As of me getting all the audio lined up before we're done very slim, but you never know. But I wanna show a little bit of color correction really quick, and then I wanna show how to export because I'm sure a lot of people wanna know that. We're gonna be done with this then. Well, I'm gonna come back to it. So we don't need audio for this. So let's do a little bit of color correction. The first thing I wanna do, I don't know how compressed the images out there in the universe of the internet, but I'm gonna assume it's not that compressed and you can see color. I wanna find, yeah, this shot, perfect. So this shot, in fact, every single shot, in my opinion, is that just a thud underexposed by the shadow side. So one, actually I don't even think I have it here. I wanted to show DFX, I do have it actually. Okay, so I use a lot of color correction programs. So you can do color correction inside of premiere, very basic. You can use Speedgrade, which is Adobe's high-end color correction program. It's a standalone color correction program. You would send the entire project to Speedgrade. If you're doing something really high end, you wanna use Speedgrade, that's like where you wanna go. There's a little program called DFX, made by Tiffin and I really like this color correction because it has a bunch of filters that you can put on, all kinds of crazy stuff that you can do. You can, sky's the limit. I would say, be tasteful with your color correction, but this can teach you how to understand color. So that way when they do come out with a Speedgrade or something like color or final cuts color, you understand what you're trying to do. And then all you gotta do is figure out the controls basically, 'cause they are very complex. Color is probably the hardest thing to do in film. So where is my, and here's why DFX is so useful. If I click this setup button here, click this and it'll launch and I get a new interface. Now why this is so cool, is because if I click this part, this split screen, see Jeff made a really good point about Photoshop and you can edit an image and you can over edit an image and then you think it looks great. And then you compare it to the old one, like your original. You're like, "Oh my original looks better. "What have I done?" This will kind of stop you from doing that. So you think Kevin looks cool green, but he actually doesn't look cool green. So think about that for a second, but you might not know that if you're not looking at the original situation. So just like Photoshop, which a lot of your Photoshop users out there might even understand color better than I do. I just know the limitations of film. So everything has a master, everything has shadows, everything has highlights, and everything has midtones. So a lot of times you can get what you need out of the master shot. But the first thing I see about this clip is that the shadows are just a little bit too dark. So I would go to the shadows and I would turn the brightness up just a little bit. Everything is in very small increments. You don't wanna do anything crazy. So if this is at zero, I might turn it up to, I don't know. Very little here. Is the-- It's not actually happening, I'm not sure why. Okay, hold on a second, let me figure this out here. There we go, all right. So I would turn the brightness up. I got to turn this on, oh, all these boxes right here, if you do screw up by chance hit the box, it'll go back to zero automatically. So a couple of things, the shadows are a little bit dark. The whole image probably needs to be brightened up just a little bit. And because I shot it flat, I'll put a little bit of contrast in it, really little bit. That might be enough, and I think in my opinion, that looks a little green, so there's two things you can do. RGB is something you really need to understand about color. So you can do a couple things. If you wanna make your image have a little more warm tone to it, you can either add red by turning this up a little bit or, let's go back, you can subtract the green and subtract the blue, and you see, as you subtract a color, more color comes in from the other two colors. That makes sense. So I'll say that again slowly, the more when you subtract a color, the other two colors start to take over more. So as you can see, when I subtracted this green, the red started to take over, the wall starts to turn pink. All right, now, whenever you have a white wall, it's very easy because you wanna turn that wall white and a good way to do that is to just put the blue up just a little bit and you can see how the wall is now, white and almost what's the color topaz or topa or it's like a stale color of a wall, anyway. Off white? (laughing) Yeah, very classy. But you can see the very big difference in our wall, and that just makes the image look a lot crispier, all right? This looks dirty down to the bottom, but you didn't know that until I showed you the compare and contrast. So you see color is all about everything. In my opinion, color is all about making things look as correct as possible. If you wanna add some style to your scene, like I made the justify the light thing where we had the red light, shoot it that way. That would be my advice. Don't try to make Kevin look evil by adding red in the scene, because everything's gonna turn red as opposed to your light turning red. So just be really careful with that, all right? So I'm gonna save this here and here's what I'm gonna do. Check this out. So what the problem is with this is when it goes from there to there, you see how yellow the wall is behind him. I'm gonna copy, I'm gonna scrunch down here. I'm gonna select everything and I'm going to paste the attribute of that color. And you're gonna see this entire yellow line turn red in theory. Boom, okay, so now all the walls are white, except for this one which is... What I just did is I pasted that effect on this one twice. So I have to get rid of this one because I had it selected. And now everything is the same color. And because our white balance was not on automatic, this is very important, something I don't know if we talked about white balance, never put your camera on auto white balance. On auto anything. In fact, yeah. just the word automatic. You should be looking up what that means. 'Cause you don't know what it means anymore. Sorry, I'm 42 seconds late, there was traffic. Is that a cell phone? Ah no, it's a heart rate monitor. Traffic, I thought you traveled by boat? Here we go. Do you mind telling me what this meeting's about? Do you mind telling me that's all about? Ah, my movie, "How to Photoshop everyone." Excuse me, my movie. No, that's clearly me, see Kevin with a K, Kubota with a K. See, that's where you're confused because that's me on the cover Action Man, with an A. No, I think you're the one that's confused because that is clearly me see. Are you kidding me? I didn't even look like you, the bone structures. See that's me. What's the point of this meeting? I'm glad you asked, okay. I only leave my cabin if it's really important. I got a visit from a girl, her name is Alison. Know who I'm talking about? I do. She wanted me to teach her about actions. I'm aware. So I showed her about actions. The next thing I know it's on this DVD. How do you explain that? It's good stuff on there. We had to make a movie and share with the world. That's cool, right? No, it's not cool. I spent 60 years in the woods in isolation and the first person I led to my cabin, the next thing I'm starring at a movie. Co-starring? I'm the star. Technically, you're supporting role. It's not really important. That's why I came here, okay? I blew up my cabin in the woods, blew up all the land around it, escaped in my boat. And frankly, I think it's time for me to make a reappearance to the world. And how are you gonna do that? Simple. Part two, "How to Photoshop everyone else?" Never, Action Man. So you basically want to make your own spinoff movie? Spinoff, this is Kevin with a K. Automation is the wave of the future. Action Man is a freaking superhero. What do you think? I think you don't need my approval because I am you and you are me. I am you and you are me, so I don't even exist? You don't think this too? Action Man's back baby. (laughing) All right, one more change. Hold on, I got one more change. Something that we need to add here. Hold on a second, it's here. Boom, right there, all right. I'm you and you're me, so I don't even exist? Hey, you don't exist. Action Man's back baby. (laughing) ♪ I wasn't strong for too long ♪ ♪ When it came dreaming, yeah ♪ ♪ Yeah, yeah, yeah ♪ (clapping) Kevin, if you're out there, you're the man.