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Tips for FCP switchers
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Did you install the Premiere drivers for BM or AJA, whichever you have on your machine? The third party drivers install their own timeline presets.
David
AllinOneFilms.com -
Yes, but there is no preset for a Prores timeline or capture. And I cannot manually create one that works.
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I’m not on a Mac and I use Matrox but I have heard Mac users say that on Macs Premiere will read, write and play Prores files in Real Time. I would suggest using Todd’s link above to the Adobe site and searching for answers there. There’s also a very active forum.
David
AllinOneFilms.com -
Hi Peter,
I know it appears to make sense that the prores codec be on your system that a capture path be available via premiere pro but the reason it doesn’t unheard outside of FCP is something you would have to take up with Steve Jobs staff.
And now that FCPX seems to be attempting to reinvent the wheel of what pro video is, there appears to be a lack of insight over there.
Bmd captures to bmd codecs, Aja have been locked into FCP for prores.
Cineform seem to the only players that happily work with IO across nle’s and platforms.
– JB
Jon Barrie
aJBprods
Jon’s YouTube Tutorial Page
follow Jon with twitter -
I think you mentioned you have existing media.
If you import the a clip into the project panel, then drag that clip down to the new item button….
It should make a new sequence based around the properties of that item.
Then will that play in RT?
you might also be able to see it’s properties so you can create a preset of a similar format.
if you mentioned this already…sorry…
Alex
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I feared that would be the case. I just find it weird that the capture and playback tools that come with the cards can capture to Prores so one should think the very same should be possible in any other app using that card.
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Hi Peter,
Tell me about it…
I do know cineform have a very intimate relationship with AJA.
Sadly it would seem apples approach to FCP has proved to have an in built expiry date. 🙁
Cineform codec is very versatile. Can be rewrapped to avi or mov for crossplatform happiness. 🙂
– JB
Jon Barrie
aJBprods
Jon’s YouTube Tutorial Page
follow Jon with twitter -
Hi Jon,
thanks for the answers.
I have terrabytes of Prores material and a 90 per cent of the stuff I am getting is currently Prores so that is an issue. In any case, given the FCP situation, is is one that, sooner or later, will have to be dealt with. Plus the Prores dominance in my shop may drop given that the “sources” where it came from are in he same situation as I am now. I am surprised Adobe hasn’t stepped in with a codec alternative that competes with Prores but maybe Cineform will become just that.Tnx,
Peter -
Not sure if someone mentioned it, but to delete an audio channel that’s linked to another (or video), just hold down ALT and select whatever you want to remove, and hit DELETE. You can do this with multiple channels as well (so, if you only need one of 4 audio channels, just hold down ALT, draw a box around the three channels you don’t want, or select them one at a time, then delete). Simple shortcut that few people seem to know about.
Note: I have no idea if ALT is remapped when you pick the FCP keyboard shortcuts,
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First, for all FCP people, welcome. Hopefully you’ll be pleasantly surprised by how far PP CS5.5 has come since you last looked at it.
I’ve been teaching the Production Suite at a local community college for about five years and didn’t pick up a copy of FCS until last year. I know where you guys are coming from but in the opposite direction. After delving into FCS I was shocked by how similar the two pieces of software were.
A couple of tips to help you out. Adobe says 4 gigs of RAM minimum to run the studio… nah, I’ve found 8 gigs minimum is your best bet. You will be running a lot of their other programs simultaneously. (You’re going to love Dynamic Link the moment you start using it. It’s one of the closest things to magic that I’ve seen on the program.) On one project I had Premiere, Photoshop, Illustrator, After Effects and Audition all open at once.
The coolest thing about Dynamic Link is when you make a change to one document (whether it’s After Effects, Photoshop, Audition or whatever) it’s immediately changed in your PP timeline. It’s astonishing and neither FCP or MC has anything like it.
Audio — In CS5.5 Adobe finally ported over their industry standard Audition to the Mac. You can sweeten either one clip or you can import your entire project in. In fact it will duplicate the layout of your project directly in the multitrack.
Color — I’ll admit it… color correction still sucks in Premiere. There’s a fine program in After Effects called Color Finesse but I had to buy the full version so I can access it in Premiere Pro. There might be a way to do colorization in Color, but I haven’t experimented. Unfortunately you may have to go to a third party for this.
ProRes — I don’t think Premiere Pro can record or read ProRes video just by itself. The first thing I noticed when I loaded FCS last year is that my copy of Premiere instantly had access to those codecs. I’ve been able to export and read ProRes files ever since. Also, Apple does have a codec pack on their site so that you can read ProRes video only. You may have to do a search for it.
Rendering — Adobe’s Media Encoder doesn’t care if you have haven’t rendered out your preview files. If you have, make sure you check the box in the initial ME window that says “Use Preview Files.”
DVD/Blu-Ray — Still use them? You’ll love Encore. In fact, because of Dynamic Link, you don’t even have to export out your project! Keep Premiere open, then import your project into Encore. You can even chose which sequence you want to put on the disc. Create a new timeline and your project will show up. It will transcode later when you’re ready to burn. (If you want to see something really cool, shrink down the windows of both Encore and Premiere. You can drag the sequence directly out of the project window and deposit it in the asset window of Encore.)
Dynamic Link — To use properly you have to keep all affected programs open. When reopening a project, I’ve found it easier to open up the other programs first before opening up Premiere. Because of this the Production Suite can be a RAM hog. I recommend as much RAM as possible to keep everything from crashing.
Other things you may or may not like — Pay attention to Adobe specification recommendations. You do need special video cards to take full advantage of the Mercury playback. I got a card about six months ago and I love it, although it set me back about $1,400. But now I can do 1080p multicamera with ease.
Premiere’s Chromakeyer is okay. I much prefer going into After Effects and using Keylight 1.2. You can pull some incredible keys with this program.
H.264 does not need to be transcoded! Premiere does it natively and even output the video in 4:2:2. I’ve even edited directly off the card without transferring any of the files to my computer. This is great if you ever want to show a producer or a directer immediately out in the field. Same thing with Red. Adobe has work extensively with both Red and Canon over the last couple of years to help make this possible.
You can make any of the windows full screen by hovering your
mouse over the window and hitting the tilde key (the key right above your tab key that looks like a curvy mustache.) Hit the tilde key again and the window returns to normal.Use the “+” and “-” keys to zoom in and out of your project. The zooming will center in on the CTI or playback indicator. If you’re zoomed in use the “\” to see your entire project. Hit the key again and it will zoom back in to your previous setting.
Well, I’ve rambled enough. Again, welcome to the party and keep asking questions. You have lots of people here who will be glad to help you out!
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