Just switched from FCP 7* to PPCC 2019 Mac like 8 months ago, then to the current PPCC. I can’t for the life of me work out why in and out works the way it does, or rather, doesn’t work?
In FCP, I did nested sequences because I do basically the same edit a few times a week, so I have template sequences with certain parts, then I edit the raw footage in another sequence. I pull my clips from there into the master sequence by hitting in and out points on the sequence, then drag those from the bin into the master sequence. I need to do it this way because of transitions and audio syncing/processing. I only have to do the transitions once (instead of playing with multiple stacked clips) etc.
In FCP, I hit in and out points in the sequence, they are set, and then I drag into another sequence, no problem. Transitioning to PPCC, I moved this workflow over to there.
In PPCC, it doesn’t seem to work this way.
If I just hit in and out points in the sequence, that does not register for dragging the sequence to nest it. It remembers the old in/out. In PPCC 2019, I would have to open the sequence into the source monitor window, go back, hit a mark, hope that will move the play head in the source window (which doesn’t always work), then hit the in/out, which would then set the in/out in the sequence as well. Only after that would the sequence drag properly. Then, I would have to do the same thing for exporting, opening the master sequence into the source monitor, go back to the master sequence, mark, in/out. Then I could export. That alone was annoying. In/out should just work, right?
Now, in PPCC 2021, that feature that reflected the in/out from the source monitor intot he sequence timeline no longer changes the in/out in the sequence. And, it seems like (mostly, although frustratingly not all the time) the in/out from the source monitor determines the drag in/out, but if I want to export, it only recognizes the in/out in the sequence timeline. Which leads me to this workflow: open the sequence into source monitor; hit a mark, hit the in/out point in source, click on the sequence timeline, hit the in/out again. This makes it take 4x as long, which is annoying, but not too terrible of a time increase.
Technically, I could remember which thing I was doing and only do that (source vs. sequence) but since it doesn’t seem to work perfectly 100% of the time, and I also sometimes forget which does which, it means I have to do the 4x to avoid accidentally missing the in/out on one or the other location, which, if I make that mistake, can lead to minutes, hours, or worst of all, published errors and a redo.
My question: is this somehow a terrible way to use PPCC? Is there some world where (if this was working correctly all the time) it makes sense? It seems to me if you hit in/out, that should always be that. But when I asked Adobe, they said “Nope, that’s working as designed,” and when I asked for a use case where this would be beneficial, they didn’t respond.
For me, about half of my work is hitting in/out points, and half of that is doing those in sequences, so it’s a constant reminder that either I’m doing something wrong, or PPCC doesn’t work right.
*Yes, I know that I have been using old software for way too long. It did the job, I didn’t need to change until I did.