What are the primary “gotchas” in PP CS6 coming from MC/Legacy?

[Aindreas Gallagher]

oh right – thats clever, just did another test – so its analysing the imported sequence contents versus the current project master clips? did another one with some new stuff in the sequence – it only pulls in the master clips it needs? more than I knew ten minutes ago – mmm. haven’t paid enough attention to the media browser….

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Clint Wardlow]

[Aindreas Gallagher] “amn’t I the total thicko.

Just mucked about there – the interesting thing is that if you take in a sequence from a previous version of the project, the sequence clips in the imported sequence from the earlier version of the project will point to the master clips in the current project?”

I think we all have those dumbbell moments. When I first moved to Premiere Pro, I was appalled at the quality of the video imports. I bitched loud and hard about it until a buddy pointed out I was viewing every thing at 1/2 resolution. Oops.

[Aindreas Gallagher]

there are way, way, way better people to ask than me – buttt – if you’re file based off cards.. richard harrington I think would tell you to create “a verified copy or disk image of your tapeless media in your project’s folder.” so like onto your raid or whatever.

as in if they were tapes, there’s a tape backup, and the tape you’re sourcing from – you can then import from that p2 disk image or what have you to your hearts content?

the point with premiere is that on any half decent mac, it doesn’t care what the media format is? red native, avchd native anything basically – they’re not messing either – it really does work – throw it on the timeline and playback.

the point is that it would want to because there is no intermediate codec. If you want to, and you want to set up the transcoding steps before hand there is nothing stopping you from transcoding everything into prores – premiere is fine with that and it will run dandy, but you are missing half the kick of the system in terms of turnaround time. If you’re worried about organisational issues more than codec, having a strict system of card archives should do you?

Half of what I’ve said there is probably wrong – but the gist is premiere is killer for native handling of media – Premiere’s key USP is, ‘why the hell are you spending twenty four hours transcoding all your file formats to pro res? It all plays back natively, mixed together on our timeline..’

There are issues getting out though – there is a time sink processing out the final edit from that timeline, and some gotchas there if you’re going to resolve.
Some people would argue that PPro really does need the ability to invoke an intermediate codec in some work cases.

Alternatively – just post the question on the PPro forum! – most active on the Cow apparently, and they actually know what they’re talking about.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Chris Harlan]

Its a great video, but its for 5.5 and some of the gotchas have changed, and of course, may change again in a few weeks.

[Jordan Mena]

[Aindreas Gallagher] ”
the point with premiere is that on any half decent mac, it doesn’t care what the media format is? red native, avchd native anything basically – they’re not messing either – it really does work – throw it on the timeline and playback.”

This is true to a certain extent. If you are staying inside PPro then using all the different flavors on your timeline is fine. If you plan on going out of Premiere for color then you are going to have problems with Media management (Premiere Pro can’t trim compressed Codecs or Red files) and also, the fact that many color systems can’t read these codecs. If Color correction is apart of your workflow then transcoding is the way to go. Well worth the wait. BTW, with FCPX you can transcode to an optimized format at any point in your edit 🙂

J

Jordan Mena | Editor | Colorist | Producer
Los Angeles, CA
https://www.youtube.com/playlist?list=PLJitHxgajDS3y4C0gZjH_ZJihqPLHB32p

[Chris Harlan]

I found that ProResHQ worked quite well for me, especially after reconfiguring the timeline to preview with it.

[Aindreas Gallagher]

oh yeah – totally – if you’re going to resolve – you’re not going to have a good time. It was suggested a quicktime brick output with a notched EDL (not that I’ve ever done anything of the sort) will kind of get you out of jail – as long as there aren’t dissolves involved – but yes definitely – like I said there are definitely times you could argue for an intermediate codec, or just transcoding like we always did. Setting up a batchlist in streamclip never really wrecked my head that much anyway.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Bret Williams]

Maybe Hover Scrub should actually play out the client monitor like another app I know. Bit the tilde is a cool trick.

[Richard Cardonna]

yea just dont drink merlot and use cs6 some people get fidgy

[David Lawrence]

[Andy Field] “3 – composite modes – don’t exist as in FCP 7 and a cntl click on the clip – they are a key filter and effects opacity function – for Alpha and Luma keys – go to the key filters and chose track matte key – for screen, hard light etc…click on clip -then then inside the effects tab – twirl down opacity and you’ll find the various blending modes”

Actually, this is not exactly true. You don’t need to add key filters if you just want to change the blend mode of a clip. Just select the clip, go to the Effects Controls panel and twirl down Opacity. You’ll find all of your blend modes there.

For Alpha and Luma keys, you will need to add a key filter.

_______________________
David Lawrence
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