Andrew Gingerich
Forum Replies Created
-
That’s exactly what I’d be doing, except FCP7 can’t handle native AVCHD. Bizarrely enough, I’m wondering if Final Cut X is the solution to my problem. Doesn’t it transcode AVCHD to ProRes 444? So if I could get my timeline in there with 7toX or something, do you think it would know what to do with the referenced .MTS files?
—
Andrew Gingerich
Filmmaker -
Not sure if Adobe sees this as a bug. It would definitely be nice to have the option of exporting an entire project or just a single sequence, but full-project XML export sure is handy if you’re migrating a project between FCP and PPro.
—
Andrew Gingerich
Filmmaker -
What you want to do is create a new, empty Premiere project. Then you import the old project file into the new project. It will give you a prompt—say you want to import only selected sequences. Select the sequence you want to send to Resolve. When it has imported into the new Premiere project, you can export an XML file—and since this new project has only one sequence in it, only one sequence will be included in the XML.
It’s definitely a bit of a kludge. Again, it may be easier to use AAF instead.
—
Andrew Gingerich
Filmmaker -
Not if I’m manually adding handles to all the clips, then manually reassembling them into a timeline and manually chopping off all the handles before exporting the XML. And let’s say my project isn’t three minutes long, let’s say it’s thirty? I’m not against doing a little work, I just find it surprising that a process that FCP’s lackluster media manager is capable of accomplishing with a few mouse clicks takes so much additional effort to accomplish in Premiere.
Isn’t batch transcoding source media something that editors need to do all the time? This is really the best solution?
—
Andrew Gingerich
Filmmaker -
There’s really no way to automate this? That’s a heckuva lot of work, even for a short project with less than 100 cuts.
—
Andrew Gingerich
Filmmaker -
The solution I’ve heard is to create a new project and import just the sequence you want to send to Resolve, then export the XML from there. Alternatively, I believe AAF export is sequence-only.
—
Andrew Gingerich
Filmmaker -
This generates a single DPX file, rather than a collection of files that I can then export to Resolve/FCP/whatever via XML. This isn’t a viable workflow for color grading because the shots lack handles, so transitions are impossible.
What I’m looking for is a way to transcode all the clips in a project to individual files. Is this an impossibility in Premiere?
—
Andrew Gingerich
Filmmaker -
Fascinating that Adobe still hasn’t addressed this bug. I managed to get an entire feature sync’d before I discovered this issue, so now I have to go back and do it again. Feeling a little bit like I’m Charlie Brown and Lucy just yanked the football away from me.
Just to clarify the workflow for this workaround so I don’t have to sync this movie more than twice, is this the way that works?
1. Set the clap frame as the in point for the video and audio clips.
2. Select the audio clip and breakout to mono.
3. This produces a separate clip for each audio track (helpfully all named exactly the same thing so there’s no way to tell them apart) that I can then merge with the video clip, producing a merged clip that has 4+ mono tracks that won’t magically disappear when I close and reopen the project.
4. Repeat 600 times.This is seriously the simplest way to include multi-mono recordings in a merged clip?
—
Andrew Gingerich
Filmmaker -
[Tim Kolb] “The “graph editor” comment was a bit of an RTM issue I’m afraid…go to the panel menu in the Effect Controls…top right…uncheck “pin to clip” and you’ll be able to zoom out further than the clip length.”
Thanks—that was driving me nuts.
Agreed re: the titler. It’s fair game to love FCP or hate it, but nobody can dispute that it has a terrible title designer. Premiere’s isn’t perfect, but it’s the best I’ve seen.
—
Andrew Gingerich
Filmmaker -
I’m sure that new features will be added. What seems unlikely is whether Apple is willing to reconsider things that they committed to early in the design proces. File handling, for instance, is a nightmare in FCPX. The tight integration with iTunes/iPhoto libraries makes me cringe. If you’re storing your projects anywhere besides a local drive, such reliances are going to bite you—hard. Event-based media libraries that aren’t tied to individual projects? Scary. That doesn’t sound like something Apple has any interest in fixing, because they don’t view it as a problem. It’s not a problem for non-pro users.
The same goes for the inability to place audio on specific tracks. Without that functionality (again unlikely to appear in future version as it seems so ingrained in the philosophy of the new timeline), Apple has slammed the door on the potential future inclusion of submixes or track-wide audio corrections (i.e. ProTools “inserts”) or something as fundamental as. Need to deliver M&E tracks for a 2-hour feature? Have fun going through the timeline and muting all the dialogue clips one-by-one. Oh, and good luck getting an audio control surface to work when there’s no such thing as audio tracks.