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Received my copy of CS5.5 in the mail today.
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[Jamie Franklin] “Is there an option somewhere in PPro, like FC where I can drag a clip from the bin into the timeline and it asks if I’d like to auto-conform the sequence to the clip settings? Or is this all still a manual process…?”
Yes, you can either right click on a clip in the project panel and create a sequence from it’s attributes or you can drag that same clip to the ‘new item’ button at the bottom of the project panel and accomplish the same thing.
Hope this helps,
Dennis -
“That said, I do think that there are a couple of nice things about Premiere Pro’s multi-cam as compared to FCP 7.”
There are pros and cons to each way of setting up multi-cam. I do appreciate all the advantages of laying out the clips in a reference timeline, the PPro method, and the most important for me is one you left out – the ability to have some of the camera’s start and stop while other camera’s run continuously and still all be matched into the same multi-clip. This is a major advantage of the PPro method.
However it’s the basic editing functionality that is most crucial – and where FCP shines. Many designers (not talking about Adobe here) think the only thing multi-camera is used for is a kind of delayed “live-switching.” For advanced users this is definitely not the case, we need to have all the functionality of working with a normal clip – matching back to the source clip, choosing which audio channels to use – but we need it for each of the camera angels involved AND then we need all the switching elements as well.
I make as many audio edits, L and J-cuts, as any single camera editor and I need to do it with from 5 to 7 cameras, with the ability to keep sync from camera A with the audio from camera D. This is what the most serious multi-cam editors will need from PPro in order to make the switch. I look forward to see where you guys are going to take it.
Herb Sevush
Zebra Productions -
Sweet action! Thanks!
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Since there’s someone from Adobe looking at this thread, I’d like to mention a major issue I have with Premiere Pro. The video output/monitor settings are set by the sequence settings, and once those settings are established they can’t be changed. So if I want to give a copy of a project to someone or take it to another system that has different output and monitoring hardware the only way to get it to work is to create a new sequence and copy and paste all content from one sequence to another. And if there’s multiple sequences in a potentially large project this because time consuming and just a hassle.
With FCP and Avid MC, the video output/monitor settings are set globally for the entire application. So I can take a project or sequence to any system and have it work right away. This is the way it should be.
The way Adobe Premiere Pro does it is a deal-breaker for me. Like many, I am looking at other options and likely switching from FCP. The only option for me right now is Avid MC, and I know many other editors that have been looking at Premiere Pro and Avid MC and they all agree with this. Hopefully Adobe will look at this issue and do something about it in the next version, though it appears to me to be a major change in the functionality of Adobe Premiere Pro so I’m guessing it’s unlikely.
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Mike -
Yup. And what’s with the whole ridiculous work area? I want to highlight a clip and press the render key. No need for a work area to determine my render area.
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There is not. You set up sequences before putting anything into them at all and that’s what you are stuck with. As someone who is used that being the norm, that auto conform feature really bugged me.
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It’s been one of the handiest little quirks in fcp for myself. I love it. I can’t tell you how many times I’ve utilized it duping a sequence and dropping in a hi-res shot to a sd timeline for technical review to upload to my director over-seas without all the manual shenanigans forgetting what sequence settings I needed on those late late nights I was on the verge of hallucinating…
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