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FCPX, Premiere Pro and Finishing Echo System
A few editors I know have come to realize that they need to finally let FCP7 go and turn to one of the other NLE’s out there. Personally I love FCPX and can’t wait to actually get paid to use it. Some of these editors I know are a little scared still to jump on board and feel safer moving to Premiere. So, as a result I have been checking both Echo systems out. Now, the workflow consists of the creative edit, Mix in Pro Tools and Color Correction with Resolve. I have found that if you edit inside PP and decided not to transcode, when you Media Manage your project and send to Resolve you’re in for a world of hurt. Where as if you make your edit with FCPX at any time you can optimize media and have no problem sending to Resolve. This seems HUGE to me. Has anyone else encountered this?
My only problem now is not being able to import an XML from PP to FCPX. As soon as Apple implements broad support for it’s XML I’ll be golden.
Jordan Mena | Editor | Colorist | Producer
Los Angeles, CA
https://www.youtube.com/playlist?list=PLJitHxgajDS3y4C0gZjH_ZJihqPLHB32p -
19 Replies
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Premiere doesn’t allow you to Transcode the final sequence to a uniform and useful codec Resolve can understand?
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Not easily. You can transcode it to a self contained quicktime and use an EDL to notch it in Resolve, but there’s no media manager that transcodes to an intermediate codec. It’s a huge hole in the Premiere workflow.
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Michael Hancock
Editor -
That seems like a fine solution…QT and EDL. I think we all got spoiled with how COLOR did things…send back clips with handles.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
It’s a problem. I just got a sequence from a client. the footage was made up of H.264 and Mpeg4. Resolve didn’t see the mpeg4 codec. I can either trancode those clips then overcut(time consuming) or I can send as a flat file. The problem is that my client fiddles with his timeline so I’d like to export from Resolve with handles. FCPX for the win on this.
Jordan Mena | Editor | Colorist | Producer
Los Angeles, CA
https://www.youtube.com/playlist?list=PLJitHxgajDS3y4C0gZjH_ZJihqPLHB32p -
Tell your client that once you send for color grading, fiddling is done. Or, that they need to fiddle BEFORE you grade.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
[Shane Ross] ” That seems like a fine solution…QT and EDL. I think we all got spoiled with how COLOR did things…send back clips with handles.”
This should be the norm across all NLE’s not the exception.
Jordan Mena | Editor | Colorist | Producer
Los Angeles, CA
https://www.youtube.com/playlist?list=PLJitHxgajDS3y4C0gZjH_ZJihqPLHB32p -
If that was only possible. I like the way you think!
Jordan Mena | Editor | Colorist | Producer
Los Angeles, CA
https://www.youtube.com/playlist?list=PLJitHxgajDS3y4C0gZjH_ZJihqPLHB32p -
[Shane Ross] “That seems like a fine solution…QT and EDL.”
It works, but I still prefer AAF or XML so you can render from Resolve with handles, just in case there are last minute tweaks. Plus it makes working with transitions easier – they aren’t baked in.
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Michael Hancock
Editor -
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[Shane Ross] “Tell your client that once you send for color grading, fiddling is done. Or, that they need to fiddle BEFORE you grade.”
If only clients could actually understand that when you tell them!
Steve Connor
There’s nothing we can’t argue about on the FCPX COW Forum
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