[Greg Janza]

[Andrew Kimery] “I’ve been to industry events where the presumption by the panelists was that everyone working in unscripted TV really wanted to work in scripted TV since scripted TV was ‘real’ editing and unscripted was just unadulterated crap.”

I can totally understand the preference for working in scripted tv but not just because it is more respected within the industry. Editing non-fiction or “reality” tv is hard, real real hard. I spent years editing that style of television programming and I’m currently wrapping up work on a 24:30 non-fiction medical show which was almost completely unscripted (except for the show host stand ups and the tease vo’s) and it was crafted in the traditional documentary style of building the story through interview bites alone. There is nothing easy about editing that style.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Scott Witthaus] “Funny thing is, many of these “YouTubers” videos have better production quality than some of the reality TV crap out there.”

I completely agree. My two teenage kids have shown me their favorite youtubers (Rudy Mancuso and Liza Koshy being two of the most popular) and while it’s not my kind of programming I would argue that these youtube stars are making very high quality videos with great editing techniques. The youtubers have created a style all their own and it’s very effective for the audience that they’re serving. And naturally, when you average over 4 million views per video you’re obviously doing something very well.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Neil Goodman] “I just think people throw these numbers around too often without thinking of all the variables.”

It’s also important to keep in mind that the source of this info is a startup company that no one that I know uses or has even heard of. These stats may or may not be true but a more accurate gauge of FCPX usage and adoption is the marketplace that you live in. As a previous post stated, in the Bay Area FCPX has been adopted by a small number of companies. And since it’s been nearly seven years since it’s release, the notion of an upward trend in adoption of FCPX professionally seems unlikely.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

Unfortunately your problem is localized. I’m on Windows 10 also and I’ve never run into that issue. the firfst steps I’d take is to do a clean install of premiere and any other Adobe programs.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

You need to provide more info in order to troubleshoot since your problem is localized to your system so what are your specs?

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

Jim, thanks for your detailed explanation. I did your test and I did see a slight chroma difference but after exporting stills out and comparing the two the difference is almost imperceptible. It’s helpful though to be aware of this issue with Premiere.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[grinner hester] “these days, there are a lot of freelancers out there sitting idle due to everyone and their dog having proper tools at home. “

There’s a lot of people out there who possess editing hardware and software but the number of people who can effectively and efficiently put together compelling visual stories is a much smaller pool. So for those in the hunt for clients, I’d suggest doing some homework and looking at a wide variety of video pieces that tell a good story and communicate their message clearly.

There’s a lot you can learn from other people’s work and hopefully through that learning process you can make more effective pieces yourself and therefore make yourself more marketable.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Jimmy See] “What would be useful would be if you could load sequences A and B in to the pancake stack, but nominate one as the ‘source’ and the other as the ‘record’ so that when you scrub the timeline at the top of the stack (Timeline A), the source monitor previews the frames that the playhead moves over in Sequence A, but when you move the playhead in sequence B, which is at the bottom of the stack, the program monitor previews the frames for that timeline’s scrub operation.”

I too was a huge fan of Avid’s swapping the contents of the timeline window between source and record via a short cut key. I think the pancake option in Premiere is comparable.

I work in a two monitor setup so I load sequence A into my top pancake timeline (source) and load sequence B in my bottom pancake timeline (record) and these pancakes are on one monitor. On the second monitor I set it to full screen playback and then it’s just a matter of moving my mouse to whichever timeline I want to playback and hitting play. And if I need to see my full Premiere project windows I just toggle full screen playback off on the second monitor.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

The reason I suggest the Adobe Hardware forum is because there’s a lot of posts detailing custom pc builds as well as experts like Bill Gehrke who will assess your build to determine if it’s the best possible for your budget. He also has a benchmark test that you can download to determine where your build lands in the overall speed rankings.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Jimmy See] “One thing I think would make that feature great would be if you could have one of those sequences load in to the source monitor window, and the other load in to the program monitor. This would make it equivalent Avid’s fantastic toggle source/record timeline function, only better because you could see both timelines at all times, rather than switching between.”

you can load sequences into the source side in premiere but for me it’s faster to load the source sequence in pancake mode.

A trend for me is to completely abandon any metadata management or clip management. I work with projects that often are a terabyte in size or larger and there tends to be a large amount of media in a variety of formats, i.e, multi-cam mxf, drone, osmo, etc. With that amount of media, stringouts and markers have become my go to method for clip organization or metadata management.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles