Oliver Peters
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Forum Replies Created
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[James Culbertson] “I think by now most of us know that this kind of talk is code”
At this point it’s all water under the bridge.
I think the best way to look at it is there’s the base of the tree where the concepts of tape cutting and film cutting were combined to envision modern NLEs. Avid/Adobe/Media100/EMC/etc all went in a very similar direction – one branch of the tree.
In creating FCPX, the development team went back to the bottom of that trunk to start up into a different direction/branch. As a result you now have two large branches that diverge a bit from that common base, but still with a ton of similarities. Blackmagic has attempted to embrace both with the Cut Page + Edit Page in Resolve 16.
We’ll see how well that works in practice.
– Oliver
Oliver Peters – oliverpeters.com
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[Mark Suszko] “I am impressed with how much faster Premiere renders out a file over FCPX. I’ve even done whole jobs where I’ve done the cutting in FCPX but handed off the final render to Premiere..”
Weird. I’m generally found FCPX and Compressor to be much faster renderers. I suppose it depends on your machine and the codecs involved. OTOH, I find Resolve to render faster than either for complex, multi-codec timelines.
– Oliver
Oliver Peters – oliverpeters.com
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[Eric Santiago] “I think if I had started with Premiere, I would have had a long time dealing with Avids technical side”
I think it’s easier to learn Media Composer first and then Premiere, rather than the other way around. Well, not easier, but gives you much better grounding.
– Oliver
Oliver Peters – oliverpeters.com
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Yes, the Waves plug-ins install as standard VST and AU, so they appear and work in all Adobe and Apple apps without issue.
– Oliver
Oliver Peters – oliverpeters.com
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[Brett Sherman] “I’m sure VocalRider is a good option, it was overly pricey at $249. But now it seems to be $89. So I might actually look into it.”
FYI – Waves will often run monthly specials (drastically reduced price) on different ones of their portfolio of plug-ins. So just keep an eye out for these if you are interested and you might get a good deal.
– Oliver
Oliver Peters – oliverpeters.com
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One other consideration. You can get into Avid for free with Media Composer | First. It’s a standard version with some feature restrictions (limit on number of bins and tracks, to start with). You “own” it – it’s not a trial. But you can get real projects done with it, you’ll learn the product, and it’s a good way to test the waters.
Premiere Pro would require at minimum, a 1-app month-by-month subscription.
IIRC – The full version of MC has a 30-day trial period, while PP is only 7 days.
– Oliver
Oliver Peters – oliverpeters.com
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[Warren Marshall] “then progress to the more complicated Avid system”
While that will work, I wouldn’t necessarily consider Avid as more complicated. In many ways it’s easier. The biggest difference is in how media is handled. That’s an area that is often taken care of by an assistant for the editor, so you definitely need to know that on either system.
– Oliver
Oliver Peters – oliverpeters.com
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I would add that if your plans are to assist for Media Composer editing, you probably need to be more knowledgeable about the relative intricacies of the software than the equivalent job for a Premiere Pro-based edit. Just the nature of the two applications.
I’m not sure about Sydney, but Premiere Pro tends to have a somewhat stronger presence in commercial and trailer editorial shops than traditional film and TV editing. Also Premiere Pro seems to be the up-and-coming NLE in the documentary and reality TV genres.
– Oliver
Oliver Peters – oliverpeters.com
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I would discourage you from using a limiter to basically create the mix for you. You really need to ride these levels on a clip-by-clip basis to get a solid overall mix. Then you can compound the clip and treat role-based audio lanes in the same way as submix tracks in a DAW.
For VO and dialogue levels I prefer two third-party (Waves) filters – MV2 and Vocal Rider. The first one is a low and high compressor. The second actually “rides” levels within your min and max settings. The results are slightly different and one may sound better than the other based on conditions. Then at the top level, you can still apply a limiter in the same way as a master track in a DAW. Hope that helps.
Be careful of final mix level, because there are different specs for different deliverables. For instance, loudness (CALM Act) specs for broadcast.
– Oliver
Oliver Peters – oliverpeters.com
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All very true, however, if you get the top specs, including a faster RAID, it can easily handle 4K from professional cameras (Alexa, EVA1, etc). I caution though that Premiere is not one of the best NLEs for editing 4K, especially when in a 1080 timeline. In my experience FCPX does a much better job. Certain format, like GH5 and some drone codecs are tougher to deal with.
The shop I work in has a mix of machines, including 5K iMacs and we deal with a lot of 4K content and cut in Premiere Pro. Because our media and projects are on a NAS, the performance is limited by the network, more so than machine power. In our case, for shorter project with faster turnarounds, we work all natively at full-res. But for longer-form projects where we have time to make a nice story, we use the Adobe proxy workflow, which is very smooth.
– Oliver
Oliver Peters – oliverpeters.com