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I wish FCPX adopted these Premiere Pro features
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[Scot Walker] “For me, the default is in the Library.”
When you create a new library you have 4 locations to set – the Library location, then media, cache and back-ups. The default is to put media in the Library. But what if you want it always in a different location? For example, Library on Drive A, Media on Drive B, and cache on Drive C. There should be a preferences setting to control that, without having to set that up each time I create a new library.
[Scot Walker] “You create a Library and when you do you get a “Save as…” dialogue.”
Just to be clear, this “save as” terminology is not the same as when I say the app should have a “save as” dialogue. IOW I want to be able to save an existing library to a new location with a new name using a “save as” menu item, like in most other applications.
[Scot Walker] ” So you are saying in Premiere Pro, you don’t have to render an AE comp again after you’ve made changes to the original?”
No. Let’s say you created a 50-layer composite as a Motion generator an placed it on an FCPX timeline. Or you create a 50-layer AE composition and placed it on a Premiere Pro timeline as a Dynamic Link clip. In both cases you can render and you can re-open the clip in the compositing application and make changes and then re-render. In both cases, It you add a clip above it on the timeline, the render is broken and you have to re-render the full composite+1 all over again. Thus a very longer render again. The render files themselves are opaque preview files, that in the case of FCPX, cannot be accessed by any other application.
Premiere Pro has the additional “render & replace” function. This specifically came out of “Gone Girl” where each clip on the timeline was an AE comp due to shot stabilization done with AE. If you want to render that 50-layer AE clip as a master file, such as ProRes4444, you can. It get’s labelled and stored like any other media clip. Because it also carries embedded XMP data I can opt to re-edit this “baked” media file. When I do so, it reverts back to the AE comp and still lets me make changes. I don’t lose any links to the composition that created it, even though the timeline no longer carries the baggage of the AE comp within the timeline. Naturally changes have to be re-rendered – either normally or as another “render & replace”.
Because the clip in the timeline is a new media file, if I add a clip on top, the system is only seeing two layers, not 51, so any subsequent render is faster, if even required at all.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
I’m not sure it’s fair to jump on Bill for his assessments. These are his valid experiences and they may or may not differ from that of others. I certainly agree that new hardware performs better with X than old hardware. Although In my case, Premiere Pro also performs well, if not even better.
What I tend to find with FCPX is that performance is inconsistent. You can have a library with a few dozen clips and everything is fine. Then you start to work on a job with 1TB of media and 700+ clips and it really gets bogged down. In my experience that still hasn’t been fixed and Premiere handles it better, though still not as well as other applications, like Media Composer.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Mathieu Ghekiere] “And that’s the good thing about working with external RED RAW media and the RMD file”
Great info, thanks.
If you look inside the Original Media folder inside a Library, you’ll see the RED folders A003_C005_01016M and the RED files with the RMD etc. You only need to do Reveal In Finder one time to get you inside the Library in the Finder (You can also just open up the Library in the Finder by right-clicking and selecting Show Package Contents) and at the clips. From there, you can take all those clips and do what you do with your external method.
For example, I often use Adobe Audition to clean up audio. I simply Reveal In Finder, double-click (because on my Mac Audition is the default app for WAV), and edit it in Audition, save, then go back into FCP X and it’s updated.
So if my media was external, I’d do the same thing: select Reveal In Finder to quickly go to that clip, it opens up the Finder and reveals the media, and then I can go and edit them all if I want through the Finder, then go back to FCP X and it’s updated.
I do understand how sending a Library without the media to someone is easier. Does FCP X handle that well? If you send it to another person and they open a project, are the links to the media are to a network drive? I guess you guys use proxies? I’ve never used proxies because it’s all local for me and my drive is fast enough. So you have all the media on a network drive and the proxies are created there too, so then when you send someone a Library with the project but without the media, FCP X will open it up and then go get the proxies over the network and load it up pretty quickly over the network?
Thanks again!
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[Scot Walker] “I’ve never seen it rename the clips. My clips always come in with the filename and stay that way. Accessing the clip in the Finder is just right-clicking and selecting “Reveal In Finder”. Library folder hierarchy is pretty clear. There is a folder for each event, a folder for each project, an original media folder, etc.”
See the attached screen grab. This is a C300 clip that was imported into the Library and FCPX rewrapped the file. The Finder name is the renamed file created by FCPX, whereas the event clip name is the file name from the camera.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
I don’t think apple knew what they were doing with X. I think they invoked a number of aspirational database operations as a parlour game inside an incredibly powerful company and they can’t shake it off. FCPX is never going to be real. The update pace is lunacy. all anyone has seen in over two years is a library container and a ludicrous conceited 3D text engine. Everyone is standing around expecting the second coming.
the fact that apple devoted their engineering efforts over a cycle to a 3D text engine means the whole thing is a joke in a sense. The programme is lunacy. There will never be bussing, programmable roles, or any of that – apple are doing anything on their whim in an afternoon. It’s a ridiculous piece of software.
they will try to keep legitimacy as far as they can with a piece of software that is built to die over the next three years. They don’t view their role as continuously tending a professional’s needs. What they try to do is make an initial statement, round it out with multi-cam, and go do other things. Like build cars.
FCPX is their last ever half assed attempt at pro-software. They couldn’t update it regularly if they tried. No one anywhere thinks FCPX is real.
https://alex4d.com/images/alex4dNotes/2014/0716_updates/Adobe-Premiere-Pro-Updates-a.png
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Aindreas Gallagher] “No one anywhere thinks FCPX is real.”
Ridiculous.
Andreas, you’re not even trying anymore. Your posts used to be amusing, even as they became increasingly misguided. Now…meh. Low-quality bait. Unless this is just so meta, we poor plebs can’t even keep up (in which case, I congratulate you).
Meanwhile, those of us doing real work with X will continue to do so as we occasionally LOL in your general direction, for old times’ sake.
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[Jeff Markgraf] “[Aindreas Gallagher] “No one anywhere thinks FCPX is real.”
Ridiculous.
“Ah, Aindreas! The “Donald Trump” of this little forum! 😉
I guess I’ll tell my clients (where my rate is the same or better rate than Pr) that the product that gives them the videos they love is not real. Plus all those students I am teaching. And the ad agency creatives and strategists I am teaching. And the guys in the CBS sports trucks in NYC. Sorry folks, it’s just not real.
Ridiculous is right. One should use the product before making foolish comments.
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I took a break from fixing a mess in Premiere with RED files.
After reading a few posts on this post, I can list a few things that I wish Premiere would just fix period 😛
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Hi Eric,
there is a thread made for that, a couple of threads below this one 😉
To add to this thread. I’m not a big Premiere user (I used to be, but it’s 10 years ago), and there isn’t that much that I would really want from it in FCPX. 2 things that cross my mind:
– The audio-clean up that is available in Audition, would be great to have in FCPX. We used to have Soundtrack Pro, but it’s gone, and the ability to make a noise print and then process it isn’t possible with the current Background Noise canceling function in FCPX. And Logic doesn’t really have those options too, from what I’ve been informing. So yeah. That.
– That morph cut seems handy (I haven’t tried it to see if it works as well as the demos). I know there is a work-around to kind of achieve the same thing in FCPX with Optical Flow, but to have that function would be handy.
There is probably more if I knew Premiere better, but I’m too happy with FCPX (and the whole trackless editing paradigm + the organisational features in FCPX) to check Premiere again. And I like to own my software.
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[Mathieu Ghekiere] “there is a thread made for that, a couple of threads below this one ;-)”
I am stuck on one idiotic problem with using RED files and Premiere.
Trying to force relink RED files after OFFLINING proxies is a nightmare.
You cant select more than one file in the Find Media window.
That is ridiculous!
Its smooth as butter in FCPX 😛
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