[Robert Withers]

I imported an FCP sequence to Pr CC “2013.” It kept failing with the whole 40 minute sequence but was able to import two 20 minute segments separately. I don’t know what that was about.

When I did the import, dual stereo tracks from a stereo microphone came into Pr as dual mono. Once they are in a sequence, it’s not easy to convert to a stereo track in Pr for mixing.

Pr CC is happy with ProRes. I know editors who always transcode to ProRes even for Premiere, to cut down on potential problems. Maybe that includes me. Of course you may be trying to whittle down drive occupation.
Cheers,
Robert

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

I’m interested too. Wonder if going through Audition clip-by-clip I could convert clips recorded with a stereo mic imported from FCP7 into Pr CC sequence from dual mono to mono or stereo clips.
Thanks.

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

I was/am using “legacy” software, including Pr CC “2013” and Mac OS 10.8.5.
I definitely had this issue:
“Also, there was the issue that separate mono tracks were being imported as stereo, with you having to reassign them as mono before bringing them into a sequence.”
Since my sequence was mostly already cut, I have found/heard of no easy way to convert them.
I wonder how people in FCP7 would mix these tracks — the dual mono tracks were imported by FCP7 from a single stereo microphone recording. It’s really an impossible mix situation.

My XML conversion created lots of anomalies in Pr CC. Worked around by importing a 40 minute sequence in two segments.

For what it’s worth.
R

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

Ah right. Apple giveth ports Apple taketh ports away. I can’t remember if my cable from the MiniDV camcorder goes into a Firewire port or a USB port. In any case, I have some drives with both Firewire and USB ports so one could daisy chain to a computer that way.

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

I regularly ingest MiniDV tapes via Firewire using Premiere CC “2013” and 2014. On a MacBookPro running OS 10.8.4. Don’t know if more recent CC versions will do this.

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

What are auditions and X’s Logic modules for the signal processing? I’m curious about sound work in X.
Now working in Premiere.
Thanks,
Robert

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

I would think it would be possible to update to the final version of Pr CC 2015 if you don’t want to go all the way to 2017.

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

iPhone footage is notorious for being variable framerate. It changes slightly to compensate for exposure, etc.
If FCP converted it to a fixed frame rate that’s a plus–since otherwise you would need to do this outside your NLE.
Maybe it picked the best option. Maybe it’s still variable and that’s what FCP chooses to report.

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

Q and W shortcut keys are superfast ways to trim heads and tails of clips and close the gap.
Robert

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

What was the reason? Share your experience, please.

Robert Withers

Independent/personal/avant-garde cinema, New York City