[Greg Janza]

I’d suggest 2&3. 1&4 won’t have much effect on renders.

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

[Greg Janza]

If I’ve learned anything in 20 plus years as a freelance editor it’s that you need to embrace new technology and not fight it. The more adaptable you are, the more employable you will be.

The technical advancements of the post industry have been staggering since I started editing on sony umatic. And each development while sometimes initially painful has inevitably led to overall workflow improvements.

But I guess fighting against change is deeply ingrained in the human psyche.

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

[Greg Janza]

[Paul Golden] “I’m sure that Apple, if anyone, has done the numbers on current FCP7 users, and has concluded there are not enough left by now to justify additional resources.”

Apple’s market valuation has hovered around $800 billion this year so the notion that Apple has any real stake in FCPX much less FCP7 is wishful thinking. Video post is a niche market at best in comparison to their real business.

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

[Greg Janza]

[Ryan Patch] “Pray tell, what is this “very powerful” audio sync feature. Will it sync 1000s of clips in 10 seconds, as I can do in Resolve?”

Sounds like Resolve is your solution so why are you asking about Premiere?

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

[Greg Janza]

I second Shane’s thoughts. There’s no problem within Premiere and there’s also no need to check videos on a variety of playback devices because they will all be different.

The only place that you have control is with the originating master file. By calibrating your monitor with a calibration tool like x-rite’s i1 you can be confident that you are creating the best product possible.

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

[Greg Janza]

[Oliver Peters] “If we had to staff up with MC or FCPX editors, we simply wouldn’t find enough who are both technically and creatively competent.”

Same story in the Bay Area. MC editors are an endangered species and FCPX editors are few in number and so that reality plays into post-production facilities and freelance editors gravitating to an all Adobe platform.

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

[Greg Janza]

you have the potential for a major post headache.

It seems unlikely that your audio person recorded audio on all eight tracks of your files. I would go through those files and modify your audio on these files to the number of tracks actually used. I also can’t think of a reason to work with anything other than your original audio files.

In Premiere, the proxy file audio tracks have to match your original files exactly or they you won’t be able to match back to the originals. So if you end up with 4 channel original files, you then need to create 4 channel proxies.

Premiere now has a very solid audio sync feature built-in so you should have no issues with syncing your video files to the secondary audio files.

The main issue you have is that this process is going to take some time due to the volume of material you’re working with.

And if you take your finished timeline into audition and export an omf from there you should then eliminate any issues with merged clips.

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

[Greg Janza]

[Steve Connor] “Since the last major update to FCPX I’ve completely stopped using PPRo completely as the updated FVPX interface was good enough for me.
“

One thing that never seems to be added into the discussion here regarding the debate between FCPX and PP or other NLE’s is how the projects that editors get hired to work on are oftentimes NLE dependent.

One example would be projects in which an editor gets hired to update a previously made video. I have several clients that send me projects that have been originally worked on by another post production company or ad agency. In my area, PP is the dominate NLE and so I’ve only dealt with a FCPX inherited project once. It would be a huge waste of time to migrate these projects out of PP in order to work in FCPX.

Another example is getting hired to make a video by a company that has an in-house media department. These companies also often dictate how they want a project to be created because in the end they usually request all of the project media for archiving and potential future use. And in my area, virtually every company that I deal with is on Adobe.

Perhaps these situations aren’t the norm for the regular contributors to this debate but I think it’s a reality for many freelance editors. Therefore the notion of switching to another NLE is a much larger issue than just deciding which workflow an editor prefers.

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

[Greg Janza]

Duke, look at the gpu load as your media plays back in premiere. It’ll show the amount of gpu processing.

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

[Greg Janza]

Duke, I should’ve added that you click on the sensors tab in the gpu-z app after starting the playback of the Premiere timeline. That will show you real time results of your graphic card performance.

Good to know that you’re not under the gun for clients. I also mentioned the graphics card because I used to have a proxy workflow and by upgrading my card I was then able to abandon proxies altogether. But it sounds like that upgrade may be down the road for you.

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