My top want for 10.1….

[Erik Lindahl]

Premier Pro CC / Prelude doesn’t actually keep track of different files does it? Like FCPX does regarding proxies, raw media and optimized media? Or has Adobe added that feature lately?

[Jeremy Garchow]

[Erik Lindahl] “1. RAW footage
2. Optimized footage
3. Potential proxy footage
4. Graded footage
5. Post FX Shot footage”

Does any NLE keep track of all those things as one selectable clip?

That is to say, does any NLE see those 5 either around of a clip as one and the same via a preference change internal to the NLE?

[Erik Lindahl]

I don’t think any NLE does. But a few tools do have version-handling and FCPX has some “multi-file” handling per file so to speak. And Apple has the “auditions” feature there. One could also utilize the multi-cam feature, given it’s the wrong tool for the job. The idea is for me very nice – given it has to be done “right”. Roles + timecode should solve it I beilive. It would make my life / workflow in FCP7 easier for sure. We tend to keep:

1x Offline sequence
1x Online sequence

Per edit of a project. Some project will have 100+ versions in total. It should / could be way way smarter having for instance versions of clips and / or sequences. Apple is on to stuff with X but still feels very much version 1.0 of that something.

[Jeremy Garchow]

Surely. But you can see the foundation. I was going to suggest multiclips for this too. Auditions wouldn’t work as well since they don’t have a sync feature. I guess the point I was asking about is, fcpx actually makes this somewhat possible, even though it’s not automagic.

I end up with a lot of versions too, and duping Projects hasn’t been a problem. Sometimes it takes a minute to dupe, but you can actually arrange multiple versions easily in the Finder with fcpx quit if it gets unruly in the Project Browser.

Since versioning is now a process in Logic, I hope fcpx engineers will be able to steal it.

[Paul Neumann]

With Prelude you can create multiple flavors to multiple destinations. They all keep the same file name or you can have them be renamed if you choose. Relinking is easy.

[Sandeep Sajeev]

Can you elaborate on why you would need this at Clip level? I can see needing this level of differentiation at Timeline/Sequence level, but I guess I’m not understanding how having this info accessed and linked at clip level would be useful – apart from the RAW/Proxy/Optimized meta flags.

At Timeline/Sequence level, Flame Premium does keep track of the Metadata you list with some operator manipulation required. Smoke has a great Version feature, which lets you add Version Tracks to the current timeline and then hop between them.

[Erik Lindahl]

Maybe it’s enough to have it at sequence-level. I just know how our timelines in FCP7 get where I import posted shots one track above un-posted ones. These have no real connection in the FCP7 timeline more than I know they belong there. It’s also not uncommon I want to compare offline / grade / post footage to see if for example we’ve introduced deteriorating artifacts to a given shot. Also for versioning where you might have the same edit for five languages but different end-packs.

[Sandeep Sajeev]

[Erik Lindahl] “It’s also not uncommon I want to compare offline / grade / post footage to see if for example we’ve introduced deteriorating artifacts to a given shot. Also for versioning where you might have the same edit for five languages but different end-packs.”

This is exactly what Version Tracks do in Smoke/Flame. You can switch between them and/or compare them using Player Wipes etc. It’s a really great feature that other packages should swipe.

I use it all the time for the exact same reasons I’ve quoted you above.

[Marcus Moore]

Honestly, I think that would even out because I’m more inclined to believe that the more professional a user is, the more likely they are to send in user feedback to apple.