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Premiere on a MacBook Pro – ugh!
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[Oliver Peters] “Would it be easier for you to use the built-in Adobe proxy workflow? Or would the transcode be too slow/taxing on your MBP?
“I’d always assumed I would need to use Proxies and I’m in the middle of seeing whether PPro or Resolve is quicker at encoding proxies on my machine. Ironically playback of the original files is slightly better in PPro than Resolve.
Either way I’ll have to leave it encoding the whole weekend ☺
Footage looks amazing, shot on Venice using Cooke Special Flare Anamorphic Primes 🙂
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[Steve Connor] “Project is being “led” by a graphic designer”
Ugh. It would make more sense if it was a director who also edited or if you were working with a team of editors who only knew Premiere. Oh well.
– Oliver
Oliver Peters – oliverpeters.com
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[Steve Connor] “I’d always assumed I would need to use Proxies and I’m in the middle of seeing whether PPro or Resolve is quicker”
If you use the Adobe workflow, it’s self-contained and generally the proxies are there without any extra effort. You can simply toggle between proxy and full-res files. If you create proxies externally, you then have to go through a process of attaching those files to the high-res in Premiere, so that you can then toggle between. Audio configuration of tracks becomes an issue in that case.
The alternative is to create low-res (ProResLT or ProResProxy) files to edit with – using Resolve/AME/Compressor (never introducing the full-res files into the Premiere project). Edit with the low-res as if they were master files. When you are done, relink in Resolve to the full-res. Or remove/hide the low-res and relink in Premiere.
– Oliver
Oliver Peters – oliverpeters.com
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[Oliver Peters] “Ugh. It would make more sense if it was a director who also edited”
I know, I actually have TWO projects that have exactly the same scenario, not enjoying them at all!
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[Oliver Peters] “If you use the Adobe workflow, it’s self-contained and generally the proxies are there without any extra effort. You can simply toggle between proxy and full-res files. If you create proxies externally, you then have to go through a process of attaching those files to the high-res in Premiere, so that you can then toggle between. Audio configuration of tracks becomes an issue in that case.
The alternative is to create low-res (ProResLT or ProResProxy) files to edit with – using Resolve/AME/Compressor (never introducing the full-res files into the Premiere project). Edit with the low-res as if they were master files. When you are done, relink in Resolve to the full-res. Or remove/hide the low-res and relink in Premiere.”
Thanks Oliver
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[Oliver Peters] “Ugh. It would make more sense if it was a director who also edited or if you were working with a team of editors who only knew Premiere. Oh well.”
This is why I have to have all three NLEs under my belt.
To date, I haven’t met a client that wants to use Resolve.
I’ve gone through the wringer with directors, producers, etc.. that want to use but really have no experience with it.
Just have to roll with the punches 😛 -
[Eric Santiago] “To date, I haven’t met a client that wants to use Resolve.”
While I have yet to run into a client who wants me to edit on Resolve, I’ve run into plenty who think they know how to color correct with it. They grade the daylights out of one shot and say “make everything else look like that,” without any concept of shot-to-shot flow/matching or the time constraints involved versus their budget.
[Eric Santiago] “I’ve gone through the wringer with directors, producers, etc.”
I run into a few that start a project in a given NLE (used to be FCP, now generally it’s Premiere) and make a complete mess out of things. Then they want me to pick up from there. Hey, but that keeps us working!
– Oliver
Oliver Peters – oliverpeters.com
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[Oliver Peters] “I run into a few that start a project in a given NLE (used to be FCP, now generally it’s Premiere) and make a complete mess out of things. Then they want me to pick up from there. Hey, but that keeps us working!
“Shhhhh trade secrets 😉
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If I was still in a situation where I had to cut with what anyone else told me to cut with – I might seriously consider a new rate sheet structured like this.
Project type A – (start and complete in X) Base Quote.
Project type C – (start in any other NLE, and delivered for me to finish) Base Quote + 50%
Project type D – start in other NLE, have me organize and edit, then requiring assets to be turnedover for use in any
other NLE) Base Quote +100%Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Bill Davis] “Project type A – (start and complete in X) Base Quote.
Project type C – (start in any other NLE, and delivered for me to finish) Base Quote + 50%
Project type D – start in other NLE, have me organize and edit, then requiring assets to be turnedover for use in any
other NLE) Base Quote +100%”Huh? Isn’t that contrary to your argument that X is faster? If you are charging more to use another NLE and you are supposedly faster on X, then you are really giving the client the middle finger and pricing yourself out of the market. This strategy effectively tells the client that you have no interest in cutting with anything other than X, even though that might not be in the best interest of the client or the project.
– Oliver
Oliver Peters – oliverpeters.com
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