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I’m at the editing software crossroads. Advice?
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What happens if you try to iterate a file project name (for automatic backup, etc…) in AE? It kills the Dynamic Link connection. Also, a small tweak in AE kills the PP preview as well.
If you have a few shots in a PP sequence that you need to tweak in AE, DL can work great. If you have a few basic changes to make to every shot in a sequence, DL isn’t bad. If you’re doing serious compositing and nesting of comps within AE, the advantages and stability quickly fall out.
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I’m a big fan of filename incrementing in AE, so in DL work, I simply “Save a Copy” and increment that. As for PPro previews, you’d need to render out a new version anyway from AE if you weren’t using DL.
I’m not saying DL is perfect, but it’s not quite bash-worthy, either. 😉
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I increment the hell out of my AE project files too, i never really trust the auto-save, although I find incrementing messes with that too – can you speak a little more to the impact on dynamic link? I haven’t done a single project in anger with prpro dynamic linking to AE.
my methodology is to picture lock in FCP and use the FPC2AE script to take a collapsed V1 cut via xml to after effects – in a way I don’t really care about dynamic link, I think its messy methodology that opens the door to nightmare revsions of the cut and music choices very late in the game – I rather like to feel the door slam on the editing environment where both I and the client can hear it.
I really care about PPro 6 for the fact that it has editing trim tools that meet and well exceed FCP7 in ways I understand, scrubbable bins, snazzy environment I that I get – the things that bug me are weird stuff like not being able to option up arrow clips or mute clips with the equivalent of control B in ver.6 – is that still true? also the marker thing is nuts. I can’t believe markers are only in prelude. that’s a crazy oversight.
Also the track assignment behaviour. that’s all small beer though.
For my money, if this thing can stand stably on its own two feet in mid summer, with adobe palpably behind it, then I say PPro6 is unequivocally FCP8 with all the implications that follow.
https://vimeo.com/user1590967/videos
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
[Aindreas Gallagher] “also the marker thing is nuts. I can’t believe markers are only in prelude. that’s a crazy oversight.”
You can add markers without problems directly within PP. In fact, they even changed the keyboard shortcut to “m”.
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“You also agree that you will not use these products for… the development, design, manufacture or production of nuclear, missiles, or chemical or biological weapons.”
iTunes End User Licence Agreement -
Are the markers applied to the clips in the sequence, or the sequence itself (across the top, ala CS5.5). If you apply a clip marker can you add notes to it (I can’t add notes to clip markers in 5.5 unless I’m just doing it wrong). If it’s just sequence markers, do they ripple with the timeline?
Premiere markers have a long way to go from 5.5. I’m hoping CS6 has addressed some of these issues.
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Michael Hancock
Editor -
You can add markers to a sequence (ie across the top) as well as clips themselves. Yes, you can add comments. Markers are also part of a clips metadata so when you open that clip in a new project that marker will follow. Don’t know wether they ripple.
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“You also agree that you will not use these products for… the development, design, manufacture or production of nuclear, missiles, or chemical or biological weapons.”
iTunes End User Licence Agreement -
You can add comments to the clip markers when the clips are in the sequence in CS6, or 5.5, or both?
I can’t add any comments to the clip markers in my sequence in 5.5. I can to sequence markers – like FCP, you add a marker then hit the add marker shortcut agani and dialogue box pops up. When I add a clip marker I can’t get a dialogue box to pop up. It just sits on the clip and is pretty useless. This would be great if it’s fixed in CS6. Even better if I’m just holding it wrong in 5.5!
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Michael Hancock
Editor -
My work, mostly, is making short educational videos with some color correction and some graphics, watermarks, etc.
Since you’re posting in this forum, I figure I should reply with consider FCPX. You work as described seems to be what FCPX is designed for: quick, short edits, quick CC, etc. Throw in Motion for $50 and you can do graphics that slide into FCPX easily (no round-tripping yet, unfortunately).
Are you the main editor or are you overseeing other seats as well? Do you need to collaborate with other editors on the same project? Do you send out to others for color, audio, etc. or is everything done in house?
Who is responsible for training? If it’s just for you, the tutorials by Larry Jordan and Ripple Training are quite good and give a quick jump start.
-nick
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[Garrett Gibbons] “I’m glad that PPro is stable for you. You’re the first I’ve heard of that hasn’t complained about the app crashing several times per hour. I have 4 GB RAM per core on a 4-core machine and I doubt that lack of RAM is the problem for most users. It’s gotten slightly more stable but is still bad for me.”
Crashing several times per hour? You’ve heard that from other users too? We aren’t hearing that from our users at all. 4GB RAM with a Premiere Pro system is the bare minimum. You simply need a more modern computer system to run the program smoothly.
Kevin Monahan
Sr. Content and Community Lead
Adobe After Effects
Adobe Premiere Pro
Adobe Systems, Inc.
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Read what I wrote again, more carefully: 4 GB per core on an 4-core system. 16 GB RAM isn’t the bare minimum for Premiere. Adobe recommends 2 GB per core.
And yes, I’ve yet to have a face-to-face conversation with an editor who uses Premiere on the Mac and doesn’t report incessant crashing. The Windows releases have been more stable but the app has a strong stigma of being a crashaholic. I can give you personal cell numbers and email addresses if you want to follow up with other editors. In LA it’s a joke app with the studios. Only small-job editors will touch it because of its instability. Plenty of people (me included) want it to become more of a viable option for the post-production pipeline, but it’s generally not taken seriously in the studio environment.
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