Chris Harlan
Forum Replies Created
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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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[Lance Bachelder] “the idiotic way you have to noodle around to find sync”
How is opening a panel that shows TC idiotic? How is it noodling around? How can you do that in FCP X?
[Lance Bachelder] “Why should anyone have to “dig deep” to find things that are plane as day in Vegas, FCP7 or Avid.? “
It ain’t digging deep to find out if your TC (and Sync) are listed in this panel as opposed to that panel. I’d say it is equally plain as day; its just another part of the Afternoon.
[Lance Bachelder] “Sync indicators aside, the list of missing and poorly thought features in Premiere is endless and not worth any more of my time – years of being a beta tester proved to me how inept the Premiere team is – I had hoped 6 would be better but it’s not even close…”
I could care less what you think, unless you can be a useful part of the conversation. Which you are currently not being. The hypocrisy of your one example is stunning.
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[Gary Huff] “[Lance Bachelder] “Why should anyone have to “dig deep” to find things that are plane as day in Vegas, FCP7 or Avid.? And yes I do miss sync indicators in FCPX and hope they’re added soon.”
The cognitive dissonance is staggering! (edit: and it’s “plain as day”).”
Yeah. I have to ask, Lance, because it isn’t clear to me–is this epic parody on your part? Or are you just THAT out of touch with the things you are saying?
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[Erik Lindahl] “Exporting of timelines in PrPro is quite bad compared to FCP (even FCPX from the little experience I have of it). “
I can relate to that. I work in short form, and in easy formats like ProResHQ, so its not a hardship for me. But I hear it is quite troublesome for long form, especially with a deadline. I don’t get the extra clicks you are talking about, but that may be because I work with CODECs that are particularly easy for Premiere, and once I set up a timeline template, I can use it over and over, both for preview and for export.
[Erik Lindahl] “People can show rendering X frames in app A vs B vs C is Y% faster but sometimes dumb planning of an app actually makes the rendering part, for some work flows, not count that much. We output a lot of shortform broadcast masters and here FCP7 shines.
“I agree with this completely. I don’t know if it is because it is what I’m most used to or not, but I still make most of my broadcast master variants in FCP7. I find it extremely fast and stable. Currently, I’m enjoying cutting spots on Avid, but I like to go back to FCP to do all of the title variations–Next, Tuesday, Tonight, Tomorrow, etc. Its possible that X might be good for this too, but I haven’t tried it yet.
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When I create this kind of effect, I just chop out frames, add a frame or two off black, here and there, and resize and intermittent frame or two, sometimes add a little twist or tilt. It all depends on exactly what I’m looking for. I never liked the look of “strobe,” particularly, because it looked too uniform. It really doesn’t take as long as you might think, and gives you something unique.
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[Erik Lindahl] “I do wonder who was “snark” in his comments. “
I’m not sure what you mean by this. I was referring to your sarcastic post. Perhaps you are unfamiliar with the term “snark.”
[Erik Lindahl] “How do you know anything about my experience in the first place? “
When I read your original post, I wondered if there was some serious problem with Premiere that I was missing. I did a search on “Premiere” and “corrupt” to see what kind of recent issues might have arisen. I saw your name, and read through the thread where you were presenting/debating your recent problems.
If you do a similar search with any other NLE, you’ll find similar issues with similar numbers. I am in no way discounting the inconvenience you experienced, and am sympathetic to anger you feel. However, I think you were greatly over expressing the problem in a, well, snarky sort of way. The reason many people aren’t talking about it is that it isn’t happening to many people. True, Walter B. does mention it in his article, but also mentions easy workarounds, and that he feels Adobe is working hard to find out what the issue is.
[Erik Lindahl] “I added a few lines of my experience to the discussion, given in a thread I don’t quite understand what it has to do in the FCPX-board, but never the less, I contributed something to the discussion. You… well yeah…”
This is not an FCP X board. If you more carefully read the title, you’ll see that it is a forum that was set up to debate whether or not FCP X is the best choice for any given editor. Some of us would prefer that the title change to something a little more neutral, and a little less demeaning of FCP X, but the powers that be have thus far shown no inclination to do so.
As far as adding to the discussion, well–we’ll have to disagree about that.
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[Steve Connor] “I am very much enjoying the irony in his thread”
Yeah, well. You, know–Karma.
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I wasn’t trying to add anything. I was just responding to the snark in your comment. I have never worked on an NLE that hasn’t had some sort of file corruption issue from time to time. I know that you got bit, and I’m sympathetic to that, as I’m sympathetic to people who have been bitten by various iterations of X and FCS. I understand that you didn’t get the feedback you wanted from Adobe, but that’s pretty much the case with anything you are not paying support for. Certainly, that is true with Apple.
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[Erik Lindahl] “For me the best thing about PrPro CS6 is the “curroupt my project” feature not so many are talking about. When this happens and there is zero support from Adobes end it rings very bad from my PoV. “
Spoken like someone with little experience and lots to say.
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[Lance Bachelder] “As far as the extra clicks, the only way to show this would be to do a live side by side with other NLE’s to show just how clunky Premiere 6 is. This doesn’t mean it can’t be used for any type of show and for those who’ve never used another NLE day in and day out in a high-pressure, broadcast or feature film type environment, they’d never know what I’m talking about and never know there are issues.
“Sorry, Lance. You just aren’t bothering to dig in deep enough. Which is fine; no one says you have to. But you shouldn’t be throwing stones either. Premiere’s sync indicators aren’t as transparent as Avid or FCP 7, but are quite usable for anyone who knows what they are doing. Just open up the info window, turn it into a small column and then you have available all timecode in every track. There’s no color-coding like in FCP7, but its very useable for monitoring sync. If you were bazitching about this from the POV of an Avid or FCP7 editor, where the sync break is spelled out in the timeline with exact frame info, I might feel your pain; but in the same breath that you are whizzing on Pr, you are lauding X which doesn’t allow any sync monitoring–after breaking clips apart–at all. So, I’m happy to see you back and hanging around, but, yes–I cry foul.