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Does Premiere CS6 still require separate a/v source and destination track selectors be set to same track?
I recall this was one of Walt Biscardi’s big gotchas with PPro and I didn’t like it either. It caused overwrite/insert edits with audio or video unintentionally missing or in the wrong track sometimes. Final Cut 7’s scheme for patching was just better. I can see from the new timeline interface Adobe didn’t adopt it outright for CS6 and I expect noting changed. Which will be a big disappointment if that’s the case.
I like the looks of the new flexible audio tracks, adjustment layers, meters, smart trim controls and Warp Stabilizer though.
–Shayne Weyker
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10 Replies
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I’d be curious about this too. It’s one the things that frustrates me about PPro. I haven’t read anything either for or against it from the limited reviews that are circulated.
Ryan Holmes
http://www.ryanholmes.com
vimeo.com/ryanholmes -
[Shayne Weyker] ” I can see from the new timeline interface Adobe didn’t adopt it outright for CS6 and I expect noting changed. Which will be a big disappointment if that’s the case.”
Ditto.. Mess with target tracks is very annoying. I pray that this will be corrected in CS6. However, Adobe did a great job. Hover Scrub, customizable buttons in transport controls area, adjustment layer, uninterrupted playback feature, standard audio track type (at last!!!) – my 5 favorite CS6 features
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Targeting tracks in CS6, alas, is the same. But right up there on Adobe’s list of users requests for change, I would guess.
Tom Daigon
PrP / After Effects Editor
http://www.hdshotsandcuts.com
Mac Pro 3,1
8 core
10.6.8
Nvidia Quadro 4000
24 gigs ram
Maxx Digital / Areca 8tb. raid
Kona 3 -
It’s a pity, but maybe it will be fixed earlier than in 7.0 version.. Anyway, great job!
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Yes, it’s still the same.
No, I believe it shouldn’t change. Even though it can be annoying at times.
Here’s my logic:
Firstly, having source and target track patch panels was an Avid thing originally. That alone is one reason to keep it, if we want more features and high-end television shows edited on Premiere Pro (which I personally do), we want Avid editors to be receptive to giving Premiere Pro a try, and keeping the workflow and muscle memory Avid editors are used to as intact as possible is key for that.
The other big reason for separate source and target patch panels also has a lot to do with a feature that is present in Avid, but not in Premiere at this time and hopefully will be added soon: the ability to cut content from a sequence into another sequence from the source monitor (instead of a nested sequence as Premiere does now). With separate source and target track patch panels, you can choose which tracks from the source sequence gets cut into the target sequence (so for example if you have some temporary graphics on V5 of the source sequence that you don’t want in the target sequence you can deselect the patch panel for V5). Not only that, but you can get total control over which tracks from the source sequence are cut into which tracks from the target sequence. Say the titles are on V5 in the source sequence, but you want them to be on V6 in the target sequence (surprisingly not an uncommon scenario) — no problem, just patch source V5 over to target V6 and hit your overwrite edit. Or you want to cut in some sound effects from another sequence (possibly from another house, or editor) that are on V7 and V8 in that sequence, but you need them to be on V11 and V12 because that’s what your facility requires. Same type of scenario. Having separate source and target patch panels gives more control and having that control is worth the occasional annoyance in my mind.
That’s why I believe track patching needs to stay the way it is in Premiere Pro.
Cinematographer – Editor – Motion Graphics Artist – Colorist
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[Kestutis Navikas] “It’s a pity, but maybe it will be fixed earlier than in 7.0 version.. Anyway, great job!”
Thanks, but I dont work for Adobe. Just helping out here and was able to get a sneak peek. Those hard working Adobe folks are the ones that deserve your praise.
Tom Daigon
PrP / After Effects Editor
http://www.hdshotsandcuts.com
Mac Pro 3,1
8 core
10.6.8
Nvidia Quadro 4000
24 gigs ram
Maxx Digital / Areca 8tb. raid
Kona 3 -
[Tom Daigon] “Thanks, but I dont work for Adobe”
I know it. I wanted to say “Great work, Adobe” 🙂
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Thanks guys. This release was a massive undertaking. It’s difficult to get absolutely every feature request into it, as there are a lot! We will continue to take your feature requests into consideration any time. The ones that get the most “votes” are the ones likely to be fixed. Vote by sending in your request. I’ll be asking the community to do this a lot this year! 😉
Feature requests: https://www.adobe.com/go/wish
Kevin Monahan
Sr. Content and Community Lead
Adobe After Effects
Adobe Premiere Pro
Adobe Systems, Inc.
Follow Me on Twitter! -
Thanks for the detailed post, Owen.
If you look at the way that we changed things in Premiere Pro CS6, I think that you’ll see that we simplified a lot of things while still giving folks the ability to customize back to the legacy way or some hybrid. This is true of shortcuts, workspaces, work area versus In and Out, and many other changes.
So, I think that I am safe in saying that we’d bring a similar philosophy to track targeting in a future version.
Details of what is changed in Premiere Pro CS6, and links to free videos about each feature are available here:
https://adobe.ly/HDKYpx———————————————————————————————————
Todd Kopriva, Adobe Systems Incorporated
product manager, professional video software
After Effects team blog
Premiere Pro team blog
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Ditto, Owen – the ability to cut from a source timeline in Avid is the foundation of how I work – creating very organized select reels and cutting them into my main program.
FCPX has done a nice job in allowing this sort of functionality by way of the compound clips. Organize selects in keyword-organized compound clips, and cut them into your main “project.” No precise patching, of course, but I kinda like it.
Without this functionality, I’m not sure how to efficiently cut from select reels. The benefits of Prelude’s “Rough Cut” are lost since you are still resorting to painstaking copy/pasting from the rough cut into your main program…right?
Can anyone offer advice on an efficient selects reel workflow without this source/record timeline functionality? If not, I can’t see our new post facility moving toward Premiere.
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