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Sub-frame Audio editing – FCP X vs Premiere
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[David Lawrence] “If you were using an earlier version try again. Good chance you’ll be pleasantly surprised.
“This was recently and with the most current versions of each. The problem with AAF interchange, when it comes to audio is that it is tweaked to work best with Pro Tools. That means it may or may not cause problems in other apps that claim AAF compliance.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[David Lawrence] “AAF in Premiere was badly broken before the 2015 release.”
time to confess David. I’ve long suspected you fell to the dark side, and I’m pretty sure your screenshot just confirmed it. post CS6 GUI my man.
Admit your sin. You are on CC Premiere.
Chris Petit wrote a confessional, I wrote a confessional, and I think you, David Lawrence, are maybe due a confessional. guitar cue.
https://www.youtube.com/watch?v=vNbbQqOg9VY
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Aindreas Gallagher] “Admit your sin. You are on CC Premiere.
Chris Petit wrote a confessional, I wrote a confessional, and I think you, David Lawrence, are maybe due a confessional. guitar cue.”
LOL!
Ah brother Aindreas, a lot has happened over the past couple months. I’ve crossed over to the dark side in more ways than one. I refer you to this thread in the After Effects forum, where you can read a little bit about what I’m currently up to. Go ahead, I’ll wait. 😉
https://forums.creativecow.net/readpost/2/1066289
This is the most fun, interesting, and innovative project I’ve been on since my Lucasfilm days. And that’s saying a lot. On top of that, I’m working with two of my favorite colleagues/people. We all met at Lucasfilm and have been collaborating off and on for decades. With this project, it totally feels like the band’s back together! Once again we’re inventing the future – pushing hardware, software, and workflow as hard as we possible can. I’m using everything I can get my hands on. I’m having a blast!
Just finished a post-production report for the first round of demos. We’re waiting to find out if we get a green light for the big phase 2 demo we have planned. Please wish us luck!
I promise when I can say more, I’ll not only write a full confessional, but if Timmy likes, maybe a full article on what we’re doing (assuming the mothership lets me talk about it). I can’t wait to tell you more! 😀
_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
https://lnkd.in/Cfz92F
facebook.com/dlawrence
twitter.com/dhl
vimeo.com/dlawrence/albums -
[David Lawrence] “t if Timmy likes, maybe a full article”
Timmy likes!!!!
Let me know what I can do to facilitate this. Maybe I could rewrite the article as if it was me, so that nobody at the mothership would know what we’re really talking about.
[David Lawrence] “I refer you to this thread in the After Effects forum, where you can read a little bit about what I’m currently up to. Go ahead, I’ll wait. 😉
https://forums.creativecow.net/readpost/2/1066289“
Stupdendous thread, as some of the COW’s big throbbing brains stride across the land like the giants they are.
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I understand your point completely. coming from the camera side of the world we have the same arguments about our tools (cameras) and at the same time there is a visible difference in the end result from the camera choices we make., Not so with editing platforms, and I’m just musing about that.
in my own editing work, the little that I do, I use FCPX which I find speedy and efficient. Premiere might actually better or worse in some respects, I don’t know because I don’t use it. However if some one asked me to cut something but it was going to be in FCP legacy, I know I would put up an argunebt against that. -
[Tim Wilson] “Timmy likes!!!!”
Excellent! Will keep you posted as we get further along. It’s still early and we’re still figuring things out. Fingers crossed…
[Tim Wilson] “Stupdendous thread, as some of the COW’s big throbbing brains stride across the land like the giants they are.”
Keep your eye on the After Effect forum because Walter S. and I are going in deep. Here’s another thread that might interest anyone who uses Dynamic Link between Premiere and After Effects and has ever wondered WTF happened to my dissolves?
https://forums.creativecow.net/readpost/2/1067127
Walter’s dropping hardcore science and I for one am learning a ton. It’s the COW at it’s best and why I enjoy this place so much. Stand by for more…
_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
https://lnkd.in/Cfz92F
facebook.com/dlawrence
twitter.com/dhl
vimeo.com/dlawrence/albums -
[David Lawrence] “Walter’s dropping hardcore science and I for one am learning a ton. It’s the COW at it’s best and why I enjoy this place so much. Stand by for more…”
(I may have to add this to that thread too.)
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Premiere Pro is indeed better for sample accurate audio editing, but the difference is mostly just the ability to zoom in enough which FCPX cannot do currently.
DRW also mentioned one important thing, editing at zero crossing points, which is not possible without sample accurate editing.
If audio is cut in the middle of a waveform, a click will be introduced. This is specially noticeable with low frequency signals. Audio applications can insert short fade on each cut to avoid this, or can cut only at zero crossing points automatically. In video applications one has to do it manually, using fades and keyframes, which is very slow.In defense of Larry Jordan, I met people teaching FCP that did not understand what is 32 bit fp audio and how to properly control audio levels. Even some questions in Apple FCP Certification exams were simply wrong. Now that audio in video apps has come a long way, it helps to go back to audio basics. This forum is quite incredible in its coverage.
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[Peter Grunden] ” Audio applications can insert short fade on each cut to avoid this, or can cut only at zero crossing points automatically.”
Yes Fairlight definitely does this. I think it does 8 sample ramps. This means an edit can be placed on any sample and no clicks. Regardless of what people think is enough accuracy for an offline, if a tool is going to be used as a total finishing tool then sample accurate non click edits are important and have been part of DAWs for over 20 years so it is not like it is a difficult problem that needs R&D to develop.
If it isn’t in the software then the NLE dev team don’t think it is important or the NLE is not really designed to be a finishing tool. To say that 100th of a frame is enough tells me that Apple probably think that is enough and mostly that is true. However it does leave them open to the interpretation that they are not aiming to be the perfect finishing tool, just close enough. And for the money they charge for the software I can’t fault that logic. But for users to claim it is designed to be a finishing tool, well expect to have dissenters.
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[Michael Gissing] “To say that 100th of a frame is enough tells me that Apple probably think that is enough and mostly that is true. However it does leave them open to the interpretation that they are not aiming to be the perfect finishing tool, just close enough. And for the money they charge for the software I can’t fault that logic. But for users to claim it is designed to be a finishing tool, well expect to have dissenters.”
Again, whether it comes from apple or not, the 1/100 number is wrong, or applies to something else. You can trim audio a sample at a time, and do a 3 sample fade if you want in FCP X. As has been pointed out, Pr can zoom in closer at this point. But I can certainly cut on a zero crossing in X, I do it all the time.
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~ My FCPX Babbling blog ~
~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~
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