[Paul Neumann]

You can put all the clips in a single sequence, highlight them, and apply warp stabilizer to them all at once. So keep that in mind. There’s no way to batch everything you want to do.

Here’s what I’d do:

Mark all your selects in Prelude and copy them to a new folder. (Or you can just import the originals and mark ins and outs as you please.)
Import the selects into a project.
Highlight all the clips in the project pane, right click, modify and change the frame rate.
Highlight a clip and make a sequence from it.
Create an adjustment layer with all your color correction.
Apply warp stabilizer.

Now make a new sequence with each clip, but at this point you’re just pasting a copy of the adjustment layer and adding the warp stabilizer.

Import the project into Adobe Media Encoder and you’ll be able to select each one of those sequences at once for batch export. The exported clips will carry whatever name, if any, you gave the sequences.

[Paul Neumann]

With real heavy noise reduction you’ll often get that flanging/phasing result. Back off on it some and try again. Also, you may want to try adding just a touch of reverb to start fattening up what’s left. Then go to EQ for any fine tuning. And always send a version to Premiere and listen to it there before you think you’re done. Sometimes things get lost in the translation.

Also, try a notch filter instead of the noise reduction ones as removing a constant noise in a definable frequency can often give you much better results.

[Paul Neumann]

So how many clips? How do you want to rename them? Like sequential numbering? Re-numbering? Special names for each one? Do they all get the same effects? I think there’s a very easy and efficient way to do all this within Premiere Pro and Adobe Media Encoder. Need more details.

[Paul Neumann]

Yeah, you want 16gig of ram. You’ll be alright with that box. The only low spot is not having at least a gig of ram on the gpu, but you’ll be fine. Just not as fast on some things.

[Paul Neumann]

Remember the ram on the 21.5″ imac is not user serviceable. You have to max it out when you order it. Shame too. I dig the way you can change it out on the 27″.

I have a new (spring 2013) macbook pro retina with 16gig 2.7 and a 512 ssd and I have to say I am totally underwhelmed by how it works with FCPX. Totally thrilled with how it runs CC though. And I use a thunderbolt raid and 27″ tb monitor a thunderbolt/ssd portable. FCPX is now crashy and buggy on this new box.

I came from a spring 2011 macbook pro with 16gig 2.2 and a 7200rpm disk and it handled FCPX just fine.

[Paul Neumann]

Option drag the new clip onto the old one. I’m assuming you’re in a multi-track session.

[Paul Neumann]

If you load those presets into AME they are then available inside PPro’s output settings.

Set up ProRes sequence presets this way:

https://blogs.adobe.com/VideoRoad/2011/08/a-prores-workflow-end-to-end.html

[Paul Neumann]

https://www.adobe.com/support/downloads/thankyou.jsp?ftpID=5411&fileID=5030

[Paul Neumann]

I see two areas for this new mac pro for apple to focus on. Media post production and personal media delivery. By that I mean for your house. The muscle behind an apple 4k display in every room of your house could be a new mac pro.

Pure speculation on my part. Now taking that speculation to another level I can see the folks at apple getting all hyped about some new features inside FCPX that make YOU the DIRECTOR of your NETWORK.
Just guessin’.

[Paul Neumann]

Make sure you’re on the very last version of Snow Leopard to successfully upgrade to Mountain Lion.