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10 great Premiere Pro CC tips for FCP 7 refugees
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[Richard Herd] “What about Adobe Anywhere? Anyone know if its underneath-the-hood is FTP?
“I believe it streams proxies. I don’t know if they then cache and are available locally. I’m interested in it, but haven’t had time to look yet.
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Yes, it is streamed proxies off of a centralized server using the Mercury Streaming Engine:
Looks cool.
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[Chris Harlan] “Yes, it is streamed proxies off of a centralized server using the Mercury Streaming Engine:”
I think that “streaming proxies” doesn’t really do Anywhere justice. Anywhere is not just streaming proxies of original media — it’s processing effects server-side from native media in real time and streaming the results the clients on the fly.
It’s an enterprise product with big multi-user collaboration component and hooks for big shops to customize and integrate it.
The article is a bit old now, but check out fxguide’s New Tech: Adobe Anywhere [link] article.
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events -
If someone uploads media in one city is that media actually available in another city? Even if it take some amount of time for FTP?
EDIT — been reading the link, now I get it. Thanks!
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Buckle up — exciting two-pronged post ahead! I’ve got some specific FCPX/Vimeo workflow questions followed by a brief but surely scintillating soliloquy on Adobe metadata.
[Bill Davis] “Music video in final approval stage with client and artist and record company. We sat down last Fri and made changes. From X I hit the Vimeo “send” button. It’s uploads to the service. I email them the link. Then Monday, a few small changes. From the same timeline, I hit SEND again, but this time, I just range select the part under discussion that they had a minor change to and directly email it to them from my Storyline. They call back that it’s perfect. So I hit the Vimeo feed Share again and replace the old one with the new one. Then Wed, they find something ELSE small to change. Repete the process. At the end of it all, what I have is a CURRENT file in my Vimeo Pro account that everyone around the world has access to with the proper password. For incremental changes, the file that I’m working on in X can email out small review files in one step. Vimeo lets me replace old versions with new ones as needed. X maintains all my current export account logins and passwords within the software. So it’s a single menu choice only.”
VIMEO
Bill, I guess one of the things I’m confused about is why you say the Vimeo file is connected, but the desktop files are disconnected. Isn’t the link to Vimeo one-way (FCPX to Vimeo) and one-time (after its uploaded, FCPX has no memory of it)?
I’m also trying to understand your Vimeo workflow. If I share a video to Vimeo, then make a change to a video in FCPX and share it out to Vimeo again, it makes a new file with a new link. If I want to update the video at the original link, I have to upload a new video file from the web interface. I can’t seem to just point it to another file already uploaded from FCPX. Am I missing something?
Another point I might be missing: from your description I thought that the Share to Vimeo feature could help me email the link. Do you still have to go to the Vimeo website to get that link or is there another way?
Again, I might be misunderstanding, but I think I have exactly this same workflow in Premiere Pro today with Vimeo’s DropBox sync. I export from Premiere to my local DropBox folder, DropBox syncs it without me doing a thing, then Vimeo grabs it from DropBox. I should add that I can also use this in conjunction with Adobe Media Encoder’s watch folders feature for some very powerful workflows.
I’m sure this counts as a third-party workaround, but it’s totally transparent to the user. Vimeo is also apparently considering FTP upload, which Adobe Media Encoder supports natively.
METADATA
I know you’re very interested in metadata, so I think you’ll find this tidbit about Adobe workflows interesting: the “desktop files” are not disconnected (unless you want them to be)!
They actually store a link to the project file that created them as metadata. In Premiere, if I right-click a media asset and choose “Edit Original,” it will open that After Effects project or the Premiere Pro project that created it.
In other words, I can use the exported, compressed file to open the original project from which it was exported.
Also, source metadata actually flows through the production.
I can work on something in Photoshop, bring it into After Effects for motion, render it out, import it into Premiere, and export a compressed H.264 MP4 from Pr. The path and filenames of that PSD and AEP can be preserved all the way through to the final MP4’s embedded XMP metadata. It’s not just Adobe stuff, either — I can also keep any embedded or associated source metadata from any asset (keywords, track numbers, etc.). Of course, all this can be controlled via Premiere’s Metadata button in the export window, or via Adobe Bridge.
While smart bins in Premiere would be a very welcome addition, Adobe’s metadata system is already a lot more powerful than I think most people realize.
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events -
[Walter Soyka] “Bill, I guess one of the things I’m confused about is why you say the Vimeo file is connected, but the desktop files are disconnected. Isn’t the link to Vimeo one-way (FCPX to Vimeo) and one-time (after its uploaded, FCPX has no memory of it)?
“To me, the Share function is at the end of the production process. I don’t really think I’d value a “bi-directional” connection to my publishing entity at that stage. I want my “versioning” to live inside my editing system – until I elect to export them. That’s when it should be “connected”, IMO, directly from the timeline to the playout service. If I ever set up a server, that might change. But for now, it’s what I need and it works fine.
So I guess I can’t currently can’t see the purpose in a live two way connection. I suspose if I wanted Vimeo to report sales figures or downloads back into X maybe? But I already kinda hate software that tries to be all things to all users, so a tracking back end isn’t on my radar at this point.
[Walter Soyka] “Again, I might be misunderstanding, but I think I have exactly this same workflow in Premiere Pro today with Vimeo’s DropBox sync.”
Might be similar, I don’t know. I just know it’s been a useful workflow for me for the past year. If CC has allowed something similar, good for them. It’s a great way to work.
[Walter Soyka] “I can work on something in Photoshop, bring it into After Effects for motion, render it out, import it into Premiere, and export a compressed H.264 MP4 from Pr.”
Look, I totally “get” the Adobe suite interactivity. Their process is to bundle half a dozen very effective apps into a robust array and let the user learn each, how each interacts with the other. What tool to use when, and it’s inarguable that each of those tools is astonishingly rich and incredibly well developed.
And if you can tolerate the “opt out” rather than “opt in” payment system that keeps your bank account tethered to your working tools and auto debits you for the privilege of having those tools at the ready (irrespective of whether or not you actually use some or all of them this month!) it’s a great system. Great for updates, great for development, certainly great for Adobe since they get paid whether or not anyone actually launches their tools! Sweet business model! Customers must pay this month – for the same thing they had installed LAST month – giving the vendor the power to deliver something fresh or not at the companies sole discretion. At a theoretical level, Adobe could take the whole company on a month long cruise and their CC sales would remain totally constant. Business HEAVEN!
Obviously, Adobe is a fine company. And they deliver great products.But as noted by many, this CC thing is NOT a customer “value add” in any way no matter how you slice it. It’s completely consistent with what a commercial company is required by law to do. Maximize shareholder value by all means possible.
Again, I’m unqualified to opine on the quality or suitability of any software other than X.
And X is still totally kicking butt for me.
As I posted elsewhere, I was able to use X to manage and edit the NATAS Rocky Mountain Emmy Awards show that was held last night. The nature of the gig is kinda an orgaztional nightmare – 700 video submissions – 130 winners – clips submitted in formats all over the map. Categories galore where clip snippits and celebrity intro clips and titles and production questions like “Are you sure we already have clip 94-304 in the second montage” are the order of the day.
And X sailed through it like an Ellison boat in the America’s Cup.
Three simple four hour edit sessions to organize, edit, assemble, title, announce and master all the assets for what turned into a nearly 4 hour live show.
And the producer and I had time to laugh and tell stories and get to know each other during the process cuz the editing was never, ever an issue.
One point, Walter, is that the whole X “Project Library” concept of everything on and live was one of the big wins. We could scroll through and skim any or all of our deliverable play outs without closing or opening anything and tweek and “re-publish” at will – including searching and sorting for included or missing clips with an ease that got more and more important as the complexity rose.
And on the output end, was able to VERSION to the Finals Folder so easily. A Quicktime master for the archive. Then stay in the Project Library to re-compress the same file into an H-264 encode for Filezilla to the FTP site. And those expoerts queue in batches, so I could skim or play, approve, export and move to the next, while X did the multiple encodings under the hood. Never even had to open Compressor.
The only “Second step”, was to drag the H-264 encodes into Filezilla, for FTP delivery to the Arizona Cardinals Stadium system for playback.
Hundreds of varying video files in – dozens upon dozens out – tight production schedules – limited producer face time -revisions, changes, the whole shooting match – to be displayed to a few hundred of the top television people in the market for their big annual awards show – all the video work done on one laptop -with $300 worth of (gratefully!) owned software.
I’m an increasingly happy editor. Gig after gig after gig.
As I’m sure others are with other NLE choices.
But X rocks. And the more complexity the project seems to have – the MORE it rocks.
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