Cliff Stephenson
Forum Replies Created
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I second this. It’s a great primer to alleviate a little early tension.
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It’s definitely easy. You can even set the keyboard to the Final Cut 7 settings so that you don’t have to deal with altering your muscle memory. There’s going to be some stuff that you have learn/do differently, but it’s very small in the long run. I definitely wouldn’t jump in if you have a project to work on right away, but if it’s on your system and you’ve got some time just to mess around and experiment… do it. The switch is pretty seamless. If you’ve got some online tutorials, that’ll ease the process even more, but you can probably get along fine on your own. It’s THAT similar.
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The only way I’ve found is to run the .mts file through ClipWrap, which retains the timecode and gives you the opportunity to rename to something else, but Premiere doesn’t always play nice with those files and they tend to stick a bit in the browser and seem to freeze intermittently. I was hoping CC would fix this and be able to keep TC with Data Transport Utility (since it’s obviously in there, as Clip Wrap sees it), but no go. I’m doing some soul searching to decide if timecode is really even that important anymore.
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Yeah, that’s the naming that the Canon Data Import Utility assigns the imported clip, which is different than how it’s stored on the card. That long number actually means something:
20130517165025
or
2013/05/17 16:50:25 – So you shot that clip @ 4:50:25 pm on May 17th, 2013. It’s actually a much better name system than AVCHD starts with and gives all the clips unique naming. -
We used EX1s for Crank: High Voltage. In fact, that was the NICE camera in the arsenal. Most of the movie was shot HDV on a bunch of Canon XH-A1s.
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Interestingly, Noise Industries is deleting all comments and/or questions from both Facebook and You Tube about their lack of proper transition implementation. Seems like they’d rather hide the problem than address it. I can tell you where I WON’T be spending money.
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The Noise Industry guys are saying on their You Tube page that real drag and drop transitions are not supported by the AE SDK. Well… the FilmImpact.net transitions works as true drag and drop in Premiere, so that’s not exactly true. Maybe they should hire those guys to write code for them because I think Noise Industries is simply taking the lazy way out. FX Factory costs $400. The Film Impact transitions cost $30. Theirs work, Noise’s don’t.
WHY?!?!
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Thanks Jon,
I did a bunch of system updates last night and when I opened Premiere, it told me I no longer had CUDA GPU ability. Thanks for doing the leg-work because this is going to be a problem for a lot of people I suspect. -
Thanks Tony! Watching now…
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Thanks Tony,
It definitely makes sense that it’s a fault in the PPro/AE crossover with one plugin trying to serve both masters. Yeah, my frustration is twofold… A) I’ve actually been cutting on Premiere since 5.0 (about a year now) and this has been something completely basic that has been repeatedly overlooked by seemingly everyone (although clearly Sapphire thinks it missing as well), so I’ve had a year of pulling my hair out waiting for this to get fixed. And B) seeing as those free Film Impact transitions actually work correctly as honest, true drag and drop transitions, it’s proof that it is possible and so it comes off more as “laziness” in that the plug-in writers don’t want to create a duplicate set of Premiere specific drag and drop transitions. This is especially frustrating for packages that cost in the $1000s.I just got really frustrated when I saw the Sapphire site listing their transitions as being: “Sapphire Edge for Adobe Premiere Pro” only to find out (yet again) that only some of Sapphire Edge is really for Premiere Pro. Again, even if the plug-ins reside inside of Premiere Pro, if they don’t work as they should it’s hard to consider them “compatible.”
Tony, if you don’t mind, can you please point me in the direction of that tutorial that can help me with the Sapphire transitions?
And thanks for your help with this.
Cliff