-
What are the primary “gotchas” in PP CS6 coming from MC/Legacy?
Well it looks like I’m going to start cutting projects in CS6 pretty soon as that is what the client wants. I am very well versed on MC, FCP7 and X. But for those who use PP and have used MC/Legacy, I want to know which areas of PP will throw me the most or get me into the most trouble so I can focus on those concepts. Or what are the “man this really sucks compared to MC/Legacy” shortcomings that you noticed.
I would just like to be aware of some of the more eyebrow raising areas of workflow differences that I can zero in on as I try and make the learning curve as painless as possible.
A good example would be how a multicam workflow coming from FCP 7 to media composer would be really disappointing if you have to group a sequence with lots of gaps and you realize that MC wont process filler as “black” video. Or that you cannot simply export a track as a ref sequence and re-import it to group as is the Plural Eyes workflow for Legacy. Or going from MC to Legacy and realizing how much work it takes to patch tracks and trim etc…
Also, I’m working with a 2011 i7 3.4 16g Imac. So I don’t have the Cuda capabilities. Will I have trouble cutting multi-cam h.264 native?
-
28 Replies
-
It’s actually a pretty smooth transition, and, in fact, that’s probably been my biggest problem. Because it was so close to 7, I found myself making assumptions about the underpinnings that would allow me to work for a long time without realizing that I hadn’t set something up properly. Nothing horrible; I was always able to create workarounds, but it woke me up to the fact that they were different programs.
I’ve been in MC and 7 for the last several months, so forgive me if I’m not explicit enough, but one of the areas that stung me slightly was audio configuration. I would suggest spending a little time in advance reviewing your options, here. You have quite a few more options (and a few less) in terms of how you use the channels within source files and how you can bus tracks. I made the assumption that channels would automatically brake into tracks like they do in both MC and 7, which is not the case. I also assumed that spinning off stems into channeled files would be as immediately switchable as it is in FCP, which it is not. I also wrongly assumed that tracks would be as malleable, mid-edit, as they are in 7. Not so. But it is a very good, comparatively complex audio environment, especially with its ability to round trip with Audition, and its worth a little extra time familiarizing yourself with it up front.
I would say that also goes for sequence configuration. It’s not really locked down any more–or at least not much more–than either 7 or MC, but it is in different ways. Some things that you think you would be able to change easily mid-edit, you cannot, so give configuration some extra thought up front, as well.
I know these are both minor, but you were asking for personal snags, and these were mine. I’ve enjoyed using it, and am looking forward to getting back to it in the coming months.
-
Do yourself a favor and read Walter Biscardi’s blog about this very topic. I only wish I had read it before I made the switch. There are many, many gotchas to know about.
Here’s the link
https://blogs.creativecow.net/blog/5837/final-cut-pro-to-adobe-premiere-pro-gotchas-1Director of Photography • Editor
http://www.lightstreamassociates.com -
And here’s Adobe’s jumping off point for those about to take the plunge:
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Thanks Bob! How funny, the “biggest gotcha” is standard track selection form in Avid, so what drives Walter “batty” is exactly what I’ve come to expect.
-
David Lawrence posted about this below too, but the one project at a time thing can get really old.
If you want to get access to a bit of footage from another project, or from an earlier version because you went and deleted it, there is no opening up the other project for a sec and grabbing the footage ala FCP7 – you’re importing the whole project into your project.If its late on and the project is complicated, effectively doubling it, just to get at a piece of footage or what have you – is a right pain. Plus you end up with duplicate master clips as far as the eye can see.
Everyone on AE is really used to this kind of crazy, its the exact same deal, but it feels kind of mad in an editing system.
On the upside the tilde key functionality – hover exploding any panel to fullscreen also comes from AE – and that is pure, pure win. It’s basically my favourite interface feature ever.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
3 things that are a little different
1 – moving the canvas around – simple point and move in FCP 7 (as long as image and wire frame are selected – in PP6 you must first DOUBLE CLICK the “canvas” window before applying moves in that window.
2 – audio mixing – the mixer is great at recording a key frame mix – but only locked the the timeline track – not each clip – if you mix something and then remove a segment of clips in the timeline – your mix is gone – the key frames stay with the timeline -not each clip….this is something I’m told Adobe is working on fixing for future releases.
3 – composite modes – don’t exist as in FCP 7 and a cntl click on the clip – they are a key filter and effects opacity function – for Alpha and Luma keys – go to the key filters and chose track matte key – for screen, hard light etc…click on clip -then then inside the effects tab – twirl down opacity and you’ll find the various blending modes
Andy Field
FieldVision Productions
N. Bethesda, Maryland 20852 -
If you’re used to final cut, PP’s track selection scheme is infuriating. Seems completely idiotic. It’s actually kinda forced me into being a drag and drop editor, which is not my preference. I’ve tried all the available keyboard shortcuts but finally gave up.
For me it was NOT a smooth transition, but once I worked out all those gotchas I’ve really come to like it. Editing all those formats natively is fantastic.
Director of Photography • Editor
http://www.lightstreamassociates.com -
Aindreas you can use the Media Browser to navigate to any Project and then you’re given the choice to import the entire project or choose any individual sequence you’d like to import. Dynamic Link is just dreamy…
-
I’m looking into switching to PPro from FCP7 as well. One question I have is, what are the best codecs to use when transcoding footage into PPro? Our work flow would most likely be a producer would use Prelude to do selects then an editor would import that project into PP. It is very important to our work flow to have all information in one project folder and not referencing a raw footage drive or other drives. I would rather do the file management up front.
Thanks,
John
-
amn’t I the total thicko.
Just mucked about there – the interesting thing is that if you take in a sequence from a previous version of the project, the sequence clips in the imported sequence from the earlier version of the project will point to the master clips in the current project?
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
Reply to this Discussion! Login or Sign Up