[Mabel Valdiviezo]

Thank you, Andrew for your notes and feedback. Very appreciated.

Mabel Valdiviezo
Editor

[Mabel Valdiviezo]

Hello there,
I would love to implement this “Write XMP ID to files on import” feature to my documentary project. But the tricky part is that I am actually migrating and importing an XML from FCP7 and I don’t get the option to check that box because it is an XML import.
(and the reason for the XML import is that I want the logging info with some important info on custom columns from FCP7 to show up in Premiere Pro, which they do BTW).
I guess my other option is to do the XML import of only the footage and then redo all the sync of all the double system footage (tons of it) in Premiere to avoid replication of footage?
But then, I have a one important 45 sequence that I really need and it has clips that have been renamed since then. So sounds like no matter what, this imported sequence will produce replicated clips in Premiere.

Any further thoughts?

Mabel Valdiviezo
Editor

[Mabel Valdiviezo]

Thank you for your insight, David.
Definitely not looking to migrate to FCPX but rather FCP7 to Premiere.
What I would like to know is about the keyword, tagging, search bins features within Premiere and Prelude. Anyone with feedback on that? Perhaps someone who has done this for documentaries that have tons of footage and needed to find the footage rather efficiently and quickly?

Thank you!

Mabel Valdiviezo
Editor

[Mabel Valdiviezo]

Hello,
Thank you, David.
We started in FCP7 a while ago and did an academic cut and lots of trailers for funding organizations. We have done some good work already and have it half organized in FCP7 and got to migrate to Premiere CC at this point… or stay in FCP7 and confront the consequences.

Mabel Valdiviezo
Editor

[Mabel Valdiviezo]

Thank you, Shane!
I reconverted all the footage in question to Prores 422 using FCP7 Log and Transfer and my FCP7 project opens fine now. Sight of relief!!
A couple of questions:
– My original footage comes from a Canon DSLR Mark2, Mark3, 7D – all h264. Since h264 is compressed and I am having to convert to prores to edit in FCP7, does it matter whether the prores flavor is 422 or 422HQ? I intent to create a feature documentary for broadcast (PBS)and wonder if I need to even convert future footage to Prores 422HQ or just keep it in Prores 422.
– Which proven tool does not shift/change luminance and color when converting footage? Adobe Media Encoder doesn’t change that but created issues in FCP7 project in my Mac Pro from 2008. I think compressor does change the luminance/color slightly so I am concern about how would this affect during finishing — I am guessing I will have reconvert my footage again then? Or this point doesn’t matter at all in finishing?

Thank you so much!

Mabel

Mabel Valdiviezo
Editor

[Mabel Valdiviezo]

Anyone here with insights on the issues mentioned here?
I have a tight deadline coming up….
Thank you!

Mabel Valdiviezo
Editor

[Mabel Valdiviezo]

Hi,

I have similar issues. I just downloaded the prores presets, thanks to your link.
Now, can you tell me where did you placed the PRORES folder?
Anywhere specifically? Rigth now it is in downloads folder.

Many thanks,

Mabel Valdiviezo

Mabel Valdiviezo
Editor

[Mabel Valdiviezo]

The machines I am working on have Quicktime Player 10.0.
My own machine used to have Quicktime 7 pro which I bought but was overriden when I updated my system to Snow Leopard. I have been wanted to figure out how to reinstall Quicktime 7 Pro.
Do you think this is the issue?
Right now, in Premiere I can only see DV output, 720×480.

Mabel Valdiviezo
Editor

Mabel Valdiviezo
Editor