I’m just going to add a little here.
In FCP7 you were forced to transcode to prores – so FCP could edit well.
Transcode to ProRes
Put in ProRes Sequence
Output in whatever format you like.
Premiere Pro isn’t timeline/codec based in FCP was. If you want to work the prior way you could – with two encodes of your data – once to an editorial codec (such as Cineform, ProRes or DNxHD), once to your final output codec.
Transcode everything to ProRes.
Set Premiere Pro to create Previews (renders) in ProRes
Output in whatever format you like.
BUT Premiere Pro can edit with the native files; for any previews, it’ll use the MPEG format – but when you output, it’ll ignore those preview files (unless you tell it otherwise) and output without any inbetween quality loss (by transcoding) to your output format.
Transcode nothing.
Edit in Premiere Pro – the previews (renders) will be ignored.
Output in whatever format you like.
Only one encode of your data – meaning that elements like stills, generators and titles (which are handled uncompressed) only go out at maximum quality.
Best,
Jeff G
Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
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New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
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