[David Lawrence]

[Charlie Austin] “Cool! I plan to order both right away!”

Excellent! And once you’ve delivered that perfect mix, make sure you have this to insure you get the ultimate in perfect playback fidelity!

https://www.lessloss.com/blackbody-p-200.html

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David Lawrence
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[David Lawrence]

Nice! But I prefer something a bit more transparent sounding 😉

https://www.fullscaleav.com/transparenator

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[David Lawrence]

[David Powell] “Thanks Bob! How funny, the “biggest gotcha” is standard track selection form in Avid, so what drives Walter “batty” is exactly what I’ve come to expect.”

Drives me batty too! It may work like Avid, but it’s still f’n stupid! 😉 Smart track targeting was another reason many of us moved to FCP Legacy.

It’s simple. Track targeting should by default always respect the source track, i.e. if I have video tracks 1, 2, and 3 enabled and I copy a clip from track 3, when I paste it should by default paste into track 3, not track 1. Destination should always respect source unless explicitly overridden by the user. This is UI 101 level stuff.

BTW, Adobe could implement this and if you Avid folks still wanna do the Track Toggle Tango, you’d still be free to knock yourselves out. 😉

Other things I miss:

Range selection on the timeline. Anyone know a way to do this? Super handy when dialogue cutting and I need a breath or tone. I really miss GGG.

Global link/unlink toggle on the timeline. Another big timesaver in FCP Legacy. I have that toggle mapped to the center button on my Logitech Anywhere MX and I hit it all the time (or used to).

Maximum Render Quality is another thing to watch out for. I’ve found the best way to avoid pain is to leave it unchecked. If you do use it, output slows way down, but more seriously, what you see may not be what you get. The way things appear on the timeline vs. how they render with MRQ checked depend on a number of confusing variables in both hardware and software settings. Avoid.

I have plenty of other UI gripes, but overall I’m very happy. Just finished a piece with AVCHD, ProRes, HDV (from FCP7 XML) and .jpg images all happily playing on the timeline. It was a fast turnaround and would have been impossible if transcoding were required before the edit. I love the trim tools and even though it’s not as flexible as FCPX’s Channel Configurations, PrP’s Modify Audio Channels was perfect for my needs.

There’s a lot to like in Premiere and coming from MC and FCP7 you’ll have no trouble jumping in. In a couple weeks, we can look forward to it getting ever better.

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[David Lawrence]

[Paul Neumann] “Aindreas you can use the Media Browser to navigate to any Project and then you’re given the choice to import the entire project or choose any individual sequence you’d like to import. Dynamic Link is just dreamy…”

Paul, thank you for this tip!

Just tried it and can confirm it works. You don’t need to use the media browser, the trick is selecting “import Selected Sequences” when you import. This invokes the Dynamic Link connection and brings in the sequence only. The clips on the sequence are indeed linked to the existing master clips in the master project. Excellent! 🙂

Wouldn’t have helped the other day because I was importing from a FCP7 XML, but I’ll keep this in mind for the future. I love learning things in this forum! Thanks again!

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[David Lawrence]

[Andy Field] “3 – composite modes – don’t exist as in FCP 7 and a cntl click on the clip – they are a key filter and effects opacity function – for Alpha and Luma keys – go to the key filters and chose track matte key – for screen, hard light etc…click on clip -then then inside the effects tab – twirl down opacity and you’ll find the various blending modes”

Actually, this is not exactly true. You don’t need to add key filters if you just want to change the blend mode of a clip. Just select the clip, go to the Effects Controls panel and twirl down Opacity. You’ll find all of your blend modes there.

For Alpha and Luma keys, you will need to add a key filter.

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[David Lawrence]

[Chris Harlan] “…along with the hope that we were only being shown a small part of the coming release.”

This. ^

I was texting with a buddy who was at the Supermeet for the announcement. We were both thrilled at the possibilities being shown. We assumed the demo was of a fraction of the features of the release. We thought we were just seeing important new features. I believed that for months after NAB. It was inconceivable that the demo *was* the release.

I think if Apple had been more honest about what they were showing and what they intended to do to FCP Studio, the reaction at Supermeet would have been much uglier.

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[David Lawrence]

[Franz Bieberkopf] “I’ve been very hesitant to dive in on anything large (quite aside from the relinking issue). Any details worth sharing?”

Franz,

It’s nothing you don’t already know, I was just surprised at easily it reared its ugly head.

My Premiere project management workflow is straightforward. Instead of opening separate tabbed projects like in FCP7, I create a master project and import any source projects I may need. I set up the imported project bins as tabs in a Pr window. It works well enough and in some ways is even an improvement over FCP7’s tabs (the Pr tilde key is pure win). So far so good.

So here ‘s what happened – I was copying clips from a source sequence into my new project sequence. Out of habit, I often cut clips from the source so I only have unused clips remaining. As I’m working I decided I want a clip that I deleted a while ago. In FCP7, I could go back and revert the source project. In PrP, I have to reimport the entire thing. And now I can’t delete the reimported project once I get my clip back because the clip is linked to the newly reimported project.

There are many ways I could have avoided this scenario, but when working fast, it’s really easy for things like this to happen. Like everyone says, PrP project management has a major case of the stupids. Hope it gets better in a couple weeks.

–dhl

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[David Lawrence]

[Marcus Moore] “If that’s what you’re looking for, then I’d almost recommend you compound clip the audio, then within the compound clip all the audio elements would be attached to a primary slug.”

Sure, but as you know, this prevents you from being able to do any mixing in context of the overall program. Stepping in and out of CCs is a bag of hurt.

[Marcus Moore] “I believe a lot of this would be covered with a “connect to time” override. This would also be useful for broadcast standard commercial slugs.”

Yes, something like that would be great. I just don’t see a clean way to do it without making the window the time frame-of-reference.

[Marcus Moore] “But to tease it a bit, to my mind, Apple has already solved their timeline problem in how they structure Events…”

I very much look forward to your post.

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[David Lawrence]

[Aindreas Gallagher] “Project handling in PPro cannot stay as it is.”

Amen to that. I just got nailed by the Pr project handling stupids. I’ll survive this project but it’s lame and needs to change asap.

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[David Lawrence]

[Charlie Austin] “Can’t speak for David, but if you want to do a swap edit, like move a clip 7 shots earlier in a cut, the tilde key will disconnect things from the clip you’re moving, but all the clips connected to the 7 shots that move in the swap move with them. Which, in my case, i didn’t want them to. You can work around it, but it would be nice to temporarily “disconnect all” if you need to.”

Bingo!

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