[Dennis Radeke]

Apply a notch filter (AKA a parametric EQ), set the Q (width of freq.) very small, set the amplitude very high and then sweep the freq range to isolate the offending frequency. Then take the amplitude control and take it down all the way. If it’s electrical hum, it’s usually around 60Hz.

[Dennis Radeke]

To the best of my knowledge, CEDAR products do not offer the spectral frequency views that Soundbooth does. Even if it did, I didn’t see any prices lower than $2500 (most were over $10k) and little or no Mac, so I don’t see them as being valid tools for most editors.

[Dennis Radeke]

Part of your problem is that the current version of FCP does not address all of the available CPUs in your desktop tower.

[Dennis Radeke]

If you have Adobe CS3 or CS4, you can remove the noise via Soundbooth. It has a unique 3D view of audio and it allows you to identify and reduce noise (like hum, hiss, HVAC, etc) better than any other audio products. I’m an old audio guy and used to sell ProTools quite a bit, so hopefully I qualify what I’m saying (even though I’m an Adobe guy)

[Dennis Radeke]

Hi Zane,

While FCP does employ ProRes for much of it’s overall workflow, Premiere Pro can read any and all of those files. Premiere can pretty much read any codec that is available on a Mac system including ProRes. I’ve got a demo coming up where I show 16 codecs all on the same timeline. This includes native AVCHD, XDCAMEX, P2, ProRes, RED R3D files, and several more.

[Dennis Radeke]

When you’re importing, make sure you’re importing the entire clip and not just a small range. Also, realize that you can import the video into Photoshop as a true video clip as opposed to frames. To do this, create a new PSD document based on your video settings. Then go to Layer>Video Layer>New Video Layer from File. Navigate and point to the file you need. Take note of the Photoshop animation panel, do your work and then export as you outlined. It should be that easy.

[Dennis Radeke]

Yes, there is a way to move from FCP to Premiere Pro. Premiere Pro CS4 has a Final Cut Pro Importer. All you do is export your project as XML and then import it into Premiere Pro. It way more than an EDL but not everything will come acrosss. Things like PIPs and transform properties will for the most part come across, but things like weird transitions will not.

Check out this link for an overview: https://blogs.adobe.com/davtechtable/2008/11/new_cs4_and_final_cut_import.html#more

[Dennis Radeke]

Hi Robert,

Check out this blog entry which details how to edit Pro-Res natively in Premiere Pro. Also, make sure you update your Premiere Pro to version 4.01. The blog entry below is CS3 but it’s completely the same for CS4.

https://blogs.adobe.com/davtechtable/2007/06/adobe_production_premium_cs3_a.html

[Dennis Radeke]

Hey Joe,

Within Adobe Media Encoder, there is the ability to create a watch folder, so that when you output to quicktime from FCP, you can automatically trigger the encode to FLV within AME. So perhaps the first place to start is exploring AME.

Dennis

[Dennis Radeke]

One thing you could at least give a try is to take your FCP project and import it into Premiere Pro. Then you could import your AE comps directly into Premiere Pro and have a round trip workflow.

There are certainly challenges with any workflow, but at a minimum, this one would allow you to view your video and AE comps in a single timeline to see how they look relative to one another.