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Trying new stuff
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[Gary Huff] “Could you explain this issue more?”
Do you ever have to export multichannel outputs or do you mostly work stereo?
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[Jeremy Garchow] “Do you ever have to export multichannel outputs or do you mostly work stereo?”
Always stereo.
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[Gary Huff] “Always stereo.”
OK, then you don’t know how difficult is it to work with multichannel outputs in Pr unless you know form the beginning the exact track mapping you need.
FCP7 let you switch back and froth from multichannel to stereo, or let you edit a multichannel output in a stereo mix-down for monitoring.
It’s much easier.
Adobe has done some work in this arena, but more work needs to be done.
On the other hand, there’s also powerful audio features that Adobe has that FCP7 doesn’t in the form of submixes and multichannel tracks.
It’s a yin and yang.
For people that need multichannel output all the time, Pr can be frustrating when you come from FCP7 as FCP7 had a few more options to change things around during the edit.
Pr has less.
Jeremy
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[Jeremy Garchow] “For people that need multichannel output all the time, Pr can be frustrating when you come from FCP7 as FCP7 had a few more options to change things around during the edit.”
Thanks for clarifying that. Just wanted to have a head’s up about it in case I ever run across that potential issue.
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[Erik Lindahl] “I don’t however feel very “safe” in the application yet given our issues with either corrupt projects “
Are you having these issues currently in CS6? I have been bitten by corrupt projects before, but not with CS6 so far, though I still make backup projects myself as a kind of “best practices” workflow.
[Erik Lindahl] ” Given the “all native” approach this potentially is a problem when dealing with less than optimal H264-files from unknown sources. Some kind of bullet proof validation-process would be appreciated here.”
What kind of “corrupted media” do you mean? H.264 files with pixelated frames and whatnot? Because if the file is corrupt to where it won’t play at all, Premiere doesn’t accept that. If it has “pixelated” frames, I don’t know of any other NLE that will reject it either, nor do I know how you would program it to make that determination without also introducing instances where it refuses media that’s actually fine.
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I did one bigger project in CS6 that ended up with either a corrupt project file or a project file pointing at bad media or simply PrPro CS6 being FUBAR. Either or I never got that project to work after about a week of editing. I had to rebuild everything in FCP7 to meet the deadline and I had a very embarrassing afternoon with the client when Premier got the above idéa to “die” on me.
All the media works in FCP7 – given I transcoded everything “properly” and converted all the image-files “properly” hence “bad media” was removed from the equation. I haven’t dared do any bigger projects in PrPro CS6 since.
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[Erik Lindahl] “All the media works in FCP7 – given I transcoded everything “properly” and converted all the image-files “properly” hence “bad media” was removed from the equation. I haven’t dared do any bigger projects in PrPro CS6 since.
“You still haven’t defined what you mean by “works”…if you have H.264 with bad, pixelated frames in it, then transcode to ProRes, then you subsequently have a ProRes file with bad, pixelated frames.
What do you mean by “bad media”?
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[Erik Lindahl] “I did one bigger project in CS6 that ended up with either a corrupt project file or a project file pointing at bad media or simply PrPro CS6 being FUBAR. Either or I never got that project to work after about a week of editing. I had to rebuild everything in FCP7 to meet the deadline and I had a very embarrassing afternoon with the client when Premier got the above idéa to “die” on me.
All the media works in FCP7 – given I transcoded everything “properly” and converted all the image-files “properly” hence “bad media” was removed from the equation. I haven’t dared do any bigger projects in PrPro CS6 since.
“Erik, I’d be very reluctant, as well. I totally get it. My last encounter with a major out-of-nowhere corrupt project was in FCP 6. It would begin to load and then just die. I hadn’t had autosave on for some time and was truly messed up by it. Over the years, I’ve learned to save external versions early and often. When I’m in FCP, I try to make Media Managed versions of key timelines in large projects at pivotal moments on different drives because of the number of times I’ve been burned. The problem is I often get so wrapped up in what I’m doing that I sometimes don’t follow my own advice.
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[Chris Harlan] “When I’m in FCP, I try to make Media Managed versions of key timelines in large projects at pivotal moments on different drives because of the number of times I’ve been burned. “
Yeah, if you have a drive go out that you’re currently working off of, doesn’t matter how “robust” the project files are.
Been there, would like to avoid repeating that experience!
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[Lance Bachelder] “There isn’t a single thing, not one. that Premiere does as well or better than FCPX 10.07. It’s garbage as far as I’m concerned and I’ll never use it again – to attempt to “master it” would be a colossal waste of time. I will continue to use the rest of the Adobe Suite via the Cloud subscription and highly recommend it to others.
As far as your jazz analogy – I’ve played guitar since I was 10 and love all forms of music – not just jazz – so shut your Phrygian pie hole you elitist prick.
“this is getting out of hand?
there are a ton of things lance has never spoken to – his use of the open timeline – how he felt being given the opportunity to use proper dynamic JKL trimming, which honestly does tickle me, the advanced native effects set including the generally delicious stuff like curves, and good god almighty – hello warp stabiliser?
but: more basically isn’t the discussion the opportunity to exit FCP7 to something that isn’t Avid – because once they get something like transition lockin: good luck with the Avid pricing – so FCPX? FCPX which has very very very – yes indeed very minutely- little visible broad uptake?Please try the Production houses, the edit renting shops, the broadcasters, the boutiques, the indie edits, the flower sellers, the bricklayers, any random person you meet – because it is beyond incredibly hard to find FCPX on the ground anywhere in the continental USA or Europe. there are about twenty guys on this forum though.
The point is that there is, basically, a requirement, a market requirement, for something quite like FCP – market standard, open, largely inexpensive, non hardware dependent, relatively easy to transfer to.
the reason there is a requirement for that is because there is a massive, massive FCP skills base homeless editor catchment in the market.
one man bands on merlot really do seem crazy – and to be clear I do mean crazy – for FCPX though.
they provide no guidance for industry shifts, and FCPX currently largely exists in the bubble of this debate forum. to quote a recent poster.PPro is very very nice editing software I personally find, and like FCPX – it is about to get rapidly better at a rate of knots.
PPro’s only failing is that it largely matches and tracks the working habits and practices of those soon to be exiting FCP7.ah no, but wait – thats not a failing at all is it? – so good luck with the tilde key, the ridiculous timeline, and the roles you feel sure are going to be, any moment now anti-gravity style reordering themselves into tracks inside a year total lunacy babbling.
For all its bizarre charms, FCPX didn’t get picked by Associated Press as a backbone editing system across untold seats, and the BBC didn’t make a hedge – buying thousands of licenses for it.
that happened with PPro.
given that there is a gigantic mass of FCP based seats, and FCP based editors – what do we really think is most likely to happen? Everyone spontaneously plumps for the lunatic (timeline anyway) editing system, from a company making all its profits from phones, software that has been absolutely industry ignored to date?
or does the market shift to a cost dependable, open, FCP modelled editing system software, (from a company financially tied to its success), that just took a quantum leap in its most recent iteration?
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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