[Derek Andonian]

[Robert Bracken] The reason Apple abandoned the Pro users is because sometimes the Pro users don’t have a say in what software to use. With a $299 price point it will get a AWESOME piece of software into more hands.

This logic doesn’t make sense to me, since FCP was already deeply entrenched. Convincing people to edit with FCP Legacy wasn’t all that difficult.

______________________________________________
“Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”

[Derek Andonian]

[Walter Soyka] Snell

Wait- so, it’s just Snell now? What happened to Wilcox??

Wow, looks like more is being jettisoned than I realised… 🙂

______________________________________________
“Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”

[Derek Andonian]

[Andrew Kimery] Having never used the XML export/import feature in FCPX and never used CS7 I just want to say that one thing I really like about Avid is the ability to open another editor’s bin (as well as manipulate projects at the Finder level). Giving/receiving of things can happen invisibly in the background w/o anyone having to stop what they are doing.

I don’t know about project manipulation at the finder level, but going through the Media Browser in the next Premiere you CAN import or browse the contents of bins from another project, even while someone else is working on the project they’re in. I also like this better than the XML route, because the person you’re getting things from doesn’t have to stop what they’re doing and export anything.

On another note (and going back to the original topic of the thread), you can also import a Premiere sequence into After Effects while the project is open in Premiere. For collaboration workflows, that could also help speed things up compared to the FCPX – to – AE route.

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“Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”

[Derek Andonian]

If keyframing is enabled (click the “stopwatch” icon next to the effect), Premiere will create one automatically if you adjust the effect’s value in a place that doesn’t have one

______________________________________________
“Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”

[Derek Andonian]

[Aindreas Gallagher] Apart from anything else, FCPX is just so involved. It’s a pretty arcane space. I know it has XML and that, but it just feels too zany apart from anything else.

This is what makes me really prefer Premiere if I’m going to be using AE. It’s not so much that X is ZANY- it’s just that it’s so different. Even if hopping from FCPX to AE were just as simple as it is with Premiere, I would have to totally switch gears into an entirely different frame of mind every time I did it. With Premiere I don’t have to worry about that. There are a lot of things in Premiere- the effect controls in particular- that are VERY similar to AE. And that makes it a lot easier to work with them combined. Going from Premiere to AE is like switching to another mode in the same application.

______________________________________________
“Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”

[Derek Andonian]

[Jeremy Garchow] in my experience, multi-user, multi-seat Pr environments isn’t exactly a cake walk especially when you account for all the caching Pr seems to do with certain formats.

Yes, Pr operates similar to how fcp7 s project structure is situated, but is hardly call that the pinnacle of a shared system.

It is much easier for me to send an FCPXML with just the information I need to send to another editor on the system and that XML carries not only edit information, but organization as well.

I can’t get that with Pr.

Going by what’s available in CS6, I agree with you. But collaboration is one of the areas that got a massive re-tooling in the new version. Soon you’ll be able to bring in another project while someone else is working on another part of it- with no XML required.

______________________________________________
“Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”

[Derek Andonian]

[Michael W. Towe] I was lucky enough to attend the San Diego Premier User Group last month and it featured a speaker from Adobe to discuss the changes to the next version.

I was at that same meeting. That demo was really something, wasn’t it?

______________________________________________
“Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”

[Derek Andonian]

[Jeremy Garchow] When I do use Pr, I do not use dynamic link. It simply doesn’t work as well as I want it to. It is much easier to keep Ae and Pr separate.

I don’t use Dynamic Link all the time either- but even without it, Premiere works really well with Ae. You can copy and paste between them, and you can import a Premiere project into Ae- either the whole thing or specific sequences.

I like this much better than the “intermediate renders” apporoach…

______________________________________________
“Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”

[Derek Andonian]

[Michael W. Towe] So far I have mixed feelings about Premiere

CS6 is still very rough around the edges, but the new version that’s about to drop looks very solid. There are improvements and refinements throughout, and the efficiency of the overall workflow is an order of magnitude better.

I could imagine the new Premiere being very attractive to the AE crowd. From what I can tell, it’s basically FCP 7 with tight AE integration.

I’m also curious to see what the Avid folks think of the next version. If nothing else, I could see it making a great addition to their workflow. The AAF importer has been re-built by Automatic Duck, and of course there’s the DNxHD stuff built in. With those two upgrades, I imagine hopping between Avid and Premiere should be pretty smooth- and then they have AE right next door, and can quickly bring compositions into Premiere to see them in the context of the entire edit…

______________________________________________
“Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”

[Derek Andonian]

[Atilio Menéndez] Avid or FCP7:

1. Set IN
2. Set OUT
3. Make subclip
4. Rename subclip (several keystrokes)
5. Go back to parent clip

FCPX:

1. Set IN
2. Set OUT
3. Apply keyword or favorite (usually just one keystroke)

My workflow in Premiere goes like this:

1. Set in
2. Set out
3. Drag clip from source monitor to bin in Project window
4. Rename

Not all that bad, and it creates an actual clip instead of a subclip, which I like.

______________________________________________
“Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”