[Herb Sevush]

what version of Ppro are you using?

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Mark Raudonis] “I downloaded a trial version. This looks like a great program. Love the simplicity of it.”

How is this different from Shotput Pro, which is what we use now?

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Warren Morningstar] “Also take a look at BOXX.”

If you need a beast for GFX and animation, Boxx has a great reputation but they are a bit of overkill for editing, and it shows in the pricing.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

HP 820 or 620 workstations if you have the money. The new Dell workstations are also excellent, though previous Dell workstations have left a bad impression on many people.

There are smaller companies that make editing computers specifically for Ppro editing – ADK is well respected and makes excellent editing computers for less money than the general workstation manufacturers.
https://www.adkvideoediting.com/

Also ProMax in LA makes a very high end editing computer the ProMax One
https://www.promax.com/s-210-promax-one-plus.aspx

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Todd Terry] “Dang… read those employee reviews. WOWSER.”

Makes me want to trash my Digital Juice disks. On the other hand, it makes me appreciate my work environment all the more.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

Kevin –

I am assuming that each of these fixes is independent and should be tried, one at a time, in the order you listed them?

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Mike Jackson] ” if both programs are up to date (or from the same older date), that *should* work”

Yes, that was the problem. Thanks.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[James Ewart] “Out of interest what are the main things you have t change in your workflow/the way you think working in PP compared to FCP7?”

The difference is not so much workflow as timeline design concepts.

FCP is organized so that the defaults were more in line with my habits as an editor. Best illustration is the way they both copy and paste. In FCP the default is that if you select a file, then copy, then paste, you will paste back to the same track you started on – which is what I want to do the large majority of the time. In Ppro everything is based on what tracks have been targeted, so that I find myself targeting and untargeting various tracks constantly. FCP sort of assumed that whatever was on the uppermost track was active, with Ppro the lowest targeted track is the default. Both designs allow you to do what you want, it’s just that the defaults in FCP were what I generally wanted and the same is not true with Ppro.

Another design difference is how they use audio tracks. Ppro loves to use specialized all-in-one audio tracks – a single stereo track that contains 2 channels, a single adaptive track that can contain all 6 channels of a surround mix. What it doesn’t let you do easily is use single channel tracks combined to create a stereo mix. In FCP a track is a track is a track – you can externally combine 2 to form a stereo pair, you can split them and have 2 mono tracks and do anything else you want – you don’t have to think about how you want to arrange your timeline before hand. Now to be fair Ppro will adapt any track to the media you throw at it, but the overall design is less open to start with.

Same goes for setting up cache folders and preview folders – it is more complicated in PPro. Not by much, it doesn’t stop me from using it, but it is not as open a system.

Now I do love many of the specific tools in PPro, the audio track mixer, scaling is much better, keyframing is better, but with Ppro I sometimes feel like I’m running against the wind, whereas with FCP I often felt the wind at my back. This may change over time, I don’t doubt it will, but for now I often find myself wistful for the FCP8 that never was.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Franz Vorenkamp] “I also have the option at work to switch to Final Cut Pro X. Do any of you familiar with either programs know if these features are available on that platform?”

My guess is that FCPX will be closer to what you want. In their timeline clips never “eat” each other – they automatically slide to a higher or lower lane when conflicts arise. I believe each clip has built in fade handles as well.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Scott Witthaus] “Personally I don’t want someone to re-make FCP7. It’s old and dead. Having just done a little work on Premiere, that just confirms my thoughts.”

Nobody wants to remake FCP7. The idea would be to make FCP8. And while I’ve come to like Ppro very much, it is not FCP8 – there are distinct differences in the way they are designed.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf