Where are we TODAY?

[Jacob Kerns]

For what it’s worth Mark Spencer made a bars generator for it ages ago. Can’t speak to Avid and direct ingest, but Premiere is a complete and total dog trying to edit AVCHD. It doesn’t rewrap so you’re always struggling with it. Playback is simply painful.

Premiere CS5 and CS5.5 Kick the butt out of FCPX with AVCHD period. The only thing I found faster was Eduis 6 but it was easier to edit FCP7 projects in Premiere. FCPX has to render it before its even usable in the edit. Premiere CS5 with a i3 and 8Gb you can get by editing AVCHD (without cuda). With a Dual Xeon or an i7 with Cuda card you don’t even notice that your editing AVCHD. Its saved us lots of hours from transcoding.

Tom you might want to check your system(s)for issues.

NIADA
Technical Director

[Tom Wolsky]

“FCPX has to render it before its even usable in the edit.”

This is just not so. Completely wrong. You select the clips in the import window. Click import. Close the window. Edit. Period.

I’m using a new i7 MBP at the moment, typical of news editors in the field. Premiere ingests .mts files and they’re a pig to work with on this box.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2011 “Complete Training for FCPX”
and “Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press

[David Cherniack]

[Tom Wolsky] “Premiere is a complete and total dog trying to edit AVCHD. It doesn’t rewrap so you’re always struggling with it. Playback is simply painful.”

Tom, apparently it is on your system. Not on mine or anyone else’s I know, but I’m sure it must be true for you if you say so…though it may be wiser to phase your opinions within the subjective mood rather than as a universal generalization which is frankly, not true.

David
AllinOneFilms.com

[Craig Seeman]

Sorry that you’re so slow with keywords. I can grab bunches of clips and organize them very quickly into collection. Keyword one (about as easy as making a bin) and drag a bunch in, and so on. It clips need to be in more than one place it’s easy to do. I can go through an interview and favorite all the good bites. I can look at the favorites and various collections as subclips and I can go right back the main longer clip and still see how it was keyworded and favorited. This is just way faster and more flexible and this is with 10 plus years on FCP legacy and Avid.

[Craig Seeman]

[Neil Goodman] “The fact i have to wait for it to guess what kind of edit i want to do (trim/slip/roll/ripple) depending on where i put the cursor slows me down right there,”

I guess I’m putting the cursor in the right place.

[Neil Goodman] “Not too mention secondary story line wont ripple at all, and if i rmemeber corrctly wont give you the roll tool. “

Both work for me in Secondary Storylilne. That you’re having this much trouble seems that your not yet comfortable with the program. The only thing missing is the precision editor.

[Neil Goodman] “The background rendering is a joke too”

I have no problem working with H.264/AVCHD while it transcodes to ProRes in the background. That’s a major time saver.

[Aindreas Gallagher]

[Craig Seeman] “If clips need to be in more than one place it’s easy to do.”

no.

I think that’s fundamentally wrong too. Clips have a physicality, to be altered fairly sparingly – where i choose to place them, the bins I choose to place them in, has consequence and develops strictures, one thing, as it were, cannot be all things –

the kind of tagging I associate with, and practise with google reader or things, (that fab organiser,) is simply not appropriate to an editing environment where a finite number of editorially critical elements are coming in – things need to be put somewhere, things do not need to be propagated by keywording into an infinite mash number of smart keyword locations. it argues against the basic understanding of the material at hand. Or at least diffuses it incredibly for questionable worth.

when at the critical end of the edit, as you search around for those last few desperate frames, to find yourself with all of your original material cloned by keywording in all directions – as you look at a hall of mirrors – what exactly to hell are you supposed to do?

the discreet physicality of the originating material is of real importance in a non linear editor.

Given what we casually – and causally – do to the material in the timeline… you could indeed argue that the material’s physicality in the browser allows for its intellectual malleability in the timeline.

http://www.ogallchoir.net
promo producer/editor.grading/motion graphics

[Neil Goodman]

Say you have two connected clips above your story line, and they themselves are butted up against each other. You whip out the blade tool, which by the way doesnt really adhere to snap unless your way zoomed in, cut out a bit of the latter clip, and hit either delete button, it doesnt snap over to fill that gap like it does on the primary storyline and how it works no matter what track your on in FCP 7.

And i was saying anything about Transcoding, Which does seem to actually work in the back, but rendering a n effect as advertised doesnt start until you stop. What advantage does this give you over FCP 7 other than you can immediately “see” the effect. Id usually wait to add FX and Color Correction till i have picture lock anyways, but because this was touted as huge feature, id expect it to work as advertised .

Neil Goodman: Editor of New Media Production – NBC/Universal

[Craig Seeman]

[Neil Goodman] “cut out a bit of the latter clip, and hit either delete button, it doesnt snap over to fill that gap like it does on the primary storyline”

Unless I’m not understanding you. It works for me when it’s a secondary storyline. Backspace key ripples to and Delete key fill with gap. Either or as I choose.

Are you confusing connected clips with secondary storylines.
Connected clips only have a vertical relationship.
Secondary Storyline has a horizontal relationship and maintains one connection to the Primary Storyline.

[Craig Seeman]

That’s not how I like to work and I don’t want an NLE that makes it difficult for me to tag a clip multiple ways quickly because the same clip may be used in different contexts.

[Gary Huff]

[Craig Seeman]Are you confusing connected clips with secondary storylines. Connected clips only have a vertical relationship. Secondary Storyline has a horizontal relationship and maintains one connection to the Primary Storyline.

I think everyone should read this over and over again a few times until they realize how silly this sounds with Apple’s brand-Spankin’-new terminology(tm)!