[Chris Frantz]

Filmstrip view in Event Browser > Options to zoom in on waveforms in Premiere, none in FCPX
Browser in general, way easier to find stuff > Subjective, Premiere has more metadata options as well as more organizational options.
Live, real time preview of all audio and video filters/FX > This is one! I’ve never tried it with the audio, never occurred to me. Might have to give that a go.
Much better audio plugins *in the app* > Subjective, metering options are better in Premiere.
Really great 3rd party ecosystem > There’s less stuff missing in Premiere 😉
no tracks > I’ll leave this be
the inspector, warts and all > Premiere has something similar “Effect controls”
clip skimming > Premiere has this in a few places but no skimmer in the timeline
snapshots > Duplicating sequences, advanced versioning, etc. are all on par
keywords, collections, smart collections > Smart collections are much like smart searches which premiere has. Keyword collections are nice 🙂
share destinations/bundles > Send to media encoder, same deal
really great compositing/title stuff built in > Titling is better in FCPX, but I do most titles in AE regardless of the NLE, I think most people do. You can edit your AE project text in Premiere btw.
retiming/color matching/audio fixes are really nice, and can easily be amped up via 3rd parties > Retiming is great, Premiere has the retiming tool which is pretty effective but FCPX wins this one IMO.
magnetic timeline. really really fast trimming of cuts to time etc > This can be replicated pretty quickly in Premiere, and also comes with the option of not having everything ripple.
compound clips (not nests!) > I guess, but you can have a nested timeline open simultaneously while editing in your primary one in Premiere which eliminates any advantage FCPX might have. Maybe not though, what else am I missing?
cleaner UI > You can move UI elements in Premiere. It can quickly become cleaner or messier than anything else. And it doesn’t come with a magic wand icon which is a plus for me.
quicker access to setting for audio configs, video settings > I guess, but it’s a matter of a click or a remapped keyboard shortcut in Premiere.
live waveforms > This is cool in FCPX, but something tells me it’s what contributes to all of FCPX’s waveform lag. They have to redraw all the time as a result.
embedded audio, access to components in *any* clip including masters > Explain further?
No Tracks… oh, did i say that? > Heh
Generators, built in and from Motion > All available in Premiere, well they don’t have blobs or bubbles I guess…
No mode switching for subframe editing > It’s a click away.

I won’t bother with listing the Premiere pro’s I think that thread underneath us is doing that better than I could.

[Chris Frantz]

+1

I’ve been scouring the web and have come up with nothing. Also checked the manual and config guide…

[Chris Frantz]

Thanks for the suggestion, this had not occurred to me. I Verified permissions on the drive and partition and it came back clean. I did clean up some space on my boot drive now (128 gb ssd) and it took it from 6 gigs free to 15, and was able to export it via fcpx native h.264 setting, but that’s far from ideal. I’ll try sending via compressor next and maybe it will be sorted.

Apologies for any mistakes, typing on a phone.

[Chris Frantz]

Or you can use the in and out points in compressor after exporting to it, then dup the project within compressor if you want to do it at multiple points in the project.

Cheers

[Chris Frantz]

Yes sir! I can’t believe that didn’t occur to me, some times the most obvious solutions are the easiest. I’ll have the original source video/audio in one bin, and drag the merged clips to a separate bin, then just batch export the bin once everything is synced. I just tried it on some old footage and it works great! If only I could automate the process a bit more, with a watch folder for import in fcp, automatically create new sequences, then refresh/run pluraleyes, create a merged clip, add to bin, then export bin to compressor for immediate rendering. Ah, wishful thinking.

[Chris Frantz]

Thanks for the prompt response. Maybe I should have elaborated on the workflow a bit more. I’ll be importing the clips via ShotputPro, into “reels” such as A001 for the first dump off A camera, and so on. This will enable me to dump to two drives, and ensure proper media transfer because of the MD5 checksum verification that will be run on each copied clip, as well as a manual overview of the footage I plan to do. I will not be using Log & Transfer at all. With this method, corrupted footage will not be an issue unless the fault lies on the source media itself. Neither will a hard drive tanking, because I will have an exact duplicate already created at the time of the initial ingesting of media.

The new QT’s are necessary (delivery to the editor is ProRes422 with synced WAV audio), regardless of the hard drive requirements, which are really a non issue in this case. Because the footage is DSLR footage with no embedded timecode, and we will not be using a lockit box, timecode is also a non issue.

Thank you for the link, I have seen it before, but it is a good one to watch again. I have searched the forums, and this is also not my first time media managing a DSLR shoot, but it is my first time with this particular delivery within such a short period of time.

I hope that clears things up a bit, thanks again for the response.

[Chris Frantz]

Guilty as charged. Still want a more advanced keyframe editor, grumble, handles, easy ease, grumble…

[Chris Frantz]

I found a dropdown menu in the sliders tab of the color picker which allows me to dial in the color via the RGB values (there’s also a CMYK slider btw). The crayon comment was more of a wtf apple moment, I’m still kind of awestruck at the audacity to take up an entire section of a color picker with a box of crayons rather than give me bezier handles on my keyframes. /rant

[Chris Frantz]

How do I purchase this camera?! Seriously, take my money now.

[Chris Frantz]

There are a bunch of options for you. Best would be to just get the necessary HD space, convert to prores and be done with it. Besides that, you could cut h.264, export to compressor, render the clips individually, relink in your original “project” (or maybe in your event) to the rendered prores, then grade if you’re doing the grade in fcpx. That way you’re only rendering what you need in the final cut, and saving on disk space.