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FCPX offers what advantages over Premiere?
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[Dennis Radeke] “No, Premiere Pro isn’t the dongle at all. It is just that it didn’t make sense to make a separate installer for Encore (it is built into the Premiere Pro CS6 installer). “
Surely it makes sense now as most CC subscribers won’t want PPro CS6, it would also make it a little less confusing for some people. Can’t be a big job to make a separate installer for it?
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[Steve Connor] “Can’t be a big job to make a separate installer for it?”
Actually, it is.
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[Dennis Radeke] “[Steve Connor] “Can’t be a big job to make a separate installer for it?”
Actually, it is.”
Fair enough!
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I think the feature list comparison really sort of misses the point of the differences between Premiere and FCP X. I think the real differences are the connected timeline versus tracked timeline and the different styles of media browsing.
There are those of us that find we work more efficiently in the FCP X way of working. And find it more “fun” to edit with. There are those the find they work better in the Premiere Pro way. I’m not sure there is one right answer here. A lot of it depends on the type of project you are working on.
Right now, I’m not sure there is a feature lacking in either program that would be a complete deal killer beyond personal preference.
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[Brett Sherman] “I think the real differences are the connected timeline versus tracked timeline and the different styles of media browsing. “
I actually think the differences are FAR more profound than that.
That’s just the working in the timeline differences.
I think the real difference is the entire plumbing re-construction that the FCP X team did. Sequestered different rez media pools that you can switch between with a click. Everything as metadata references. Agile on-line sharing from those sequestered rez pools.
The structural differences at least between FCP Legacy and FCP X are pretty profound, fundamentally.
Not sure how Premier or AVID is different, but from conversations I’ve participated in on other sites regarding stuff like multi-cam – it appears that the other NLEs are a bit “constrained” by needing to link to and manipulate media directly rather than by reference.
Just speculation here.
Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
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[Bill Davis] “I think the real difference is the entire plumbing re-construction that the FCP X team did. Sequestered different rez media pools that you can switch between with a click. Everything as metadata references. Agile on-line sharing from those sequestered rez pools. The structural differences at least between FCP Legacy and FCP X are pretty profound, fundamentally… it appears that the other NLEs are a bit “constrained” by needing to link to and manipulate media directly rather than by reference.”
I must somewhat pedantically disagree.
Steenbecks manipulate media directly. Every NLE I can think of works as you describe with FCPX: everything as metadata references. There is always a “clip” construct that serves as an abstraction layer between the timeline and the media.
FCPX has a really great system for managing its own native, optimized and proxy media, but it’s not fair to suggest that other NLEs lack online/offline or reconform workflows.
Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive | RenderBreak [blog] | Profile [LinkedIn] -
[Bill Davis] “other NLEs are a bit “constrained” by needing to link to and manipulate media directly rather than by reference. “
At least PPro lets you relink to a clip that has different properties than the original
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Ok, but isn’t the cost of that the inability to depend on the absolute reference stability of the underlying clip for the database. In X, the database can’t maintain integrity if there isn’t absolute address integrity between clips. Premier doesn’t give you the concept of a range in the same fashion, so why should it care if a piece of substitute media is a few frames shorter or longer, right? While in X, doing a clip replacement with media that’s 20 frames shorter is unacceptable if the closing range address is one of the now missing frames. The database returns an error because the location is GONE. That can’t work.
Walter, this also goes to why I suspect the metadata description system in PPro can’t be directly compared to the one in X. Sure they both describe the edit positions via abstraction, but i sispect only one does so as entries in a live evolving SQLite database, rather than the old style of just writing addresses in a fixed code file and referencing them. But I freely admit that I’m no expert on coding nor the guts of this stuff, so I’ll leave it for the programmers to decide whether X and Premier use the same sort of metadata manipulations under the hood – or if that’s a core part if what Apple “re-plumbed” in the X re-imagining.
Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
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[Bill Davis] “While in X, doing a clip replacement with media that’s 20 frames shorter is unacceptable if the closing range address is one of the now missing frames. The database returns an error because the location is GONE. That can’t work.”
I’d like the option to override this as in other NLE’s, I seem to remember you could do it in earlier versions of FCPX
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That’s the whole point Steve. Other software can because IT ISNT internally connected to an active digital asset management database system like X.
You can have a system where range parameters matter. Or one where they don’t.
Not sure it makes sense to ask for both simultaneously.Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
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