[Robert Withers]

I was actually considering buying a copy of the CS6 suite because I’m still working in CC2013 on a multi-year project and am tired of paying for the versions of CC that I don’t use because they require purchasing new versions of Macs/Mac OSs. But then why did I leave FCP7? Oh, yeah, I thought I’d like Premiere better than FCP X. It’s taken a while to learn it.

I wonder if Resolve also requires the updates of computer systems to work well. Worth researching, but not now, still working on that project.

Of course I’m not using this software to earn income, like you guys.

Robert Withers

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

[Robert Withers]

Hi folks,
I’ve been struggling with this within an editing context, not a delivery context.
I have dual mono tracks recorded from an on-camera stereo mike originally imported into FCP.
I want to equalize them and change levels simultaneously, rather than by applying effects and key frames to one and copying it to the other.
I understand I should be able to change these in the project panel, but they are in a heavily edited sequence so I don’t want to go back and recut the entire show.
How can this be done?
Thanks,
Robert

Robert Withers

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

[Robert Withers]

I understand the problem with iphone is that it may vary frame rate to control exposure. However, people do use it, eg the feature film Tangerine. I used some iphone shots but can’t remember how I imported them, through image capture, FCP7, or Premiere 7.

Robert Withers

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

[Robert Withers]

Clipwrap works in OS 10.8.5. It’s successor requires a more recent OS. I have successfully transcoded .MTS files in Adobe Media Encoder 2013.
Best,
Robert

Robert Withers

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

[Robert Withers]

Someone told me these interlaced files are in “Apple codec.” I had footage edited in FCP2, then FCP5, then same footage in FCP7 . . . exported the timeline as XML and got it imported into Pr CC. This was a sequence, however, not camera files.

Robert Withers

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

[Robert Withers]

Thanks Jon. I’m not creating spanned clips.

I’m both the shooter and the user (editor), so could try your suggestion 1. Any particular risks? What human errors might I commit?

I’m currently using your suggestion 2, with multiple progressive copies. Seems inefficient, but with sufficient bandwidth, why not?

I do use Pr’s Browser for import into bins, but want to feel that I’m setting up the optimal structure for the clips on the hard drive itself, outside of Pr’s project file. How will using the Media Browser make the process matter less? I don’t create spanned clips. I want to be able to access the clips effectively in no matter what NLE becomes the standard of the future. People are so authoritative (authoritarian?) about copying the entire card and its structure.

Thanks so much for your thoughts.

Robert

Robert Withers

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

[Robert Withers]

I only converted one program from FCP7 to Premiere CC (2013) and it showed up but with a lot of glitches and rearranged clips.
I tried converting each half of the 40 minute sequence separately and stitched them back together in Pr, which worked fine.
However, the dual mono stereo tracks from FCP converted to dual mono in Pr. There’s apparently no way to get them into Pr stereo tracks once they are in an edited sequence.

Robert Withers

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

[Robert Withers]

Thanks, Alex. This is a very useful perspective.
It’s so helpful to understand the principles behind a procedure.
Most training and documentation doesn’t offer this.
Cheers,
Robert

Robert Withers

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

[Robert Withers]

I see 10.8 USB installs for sale on ebay.

Robert Withers

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

[Robert Withers]

Some people like to count the years that FCP7 is “out of date” which seems a bit of an academic exercise. We can edit on what works for us.

Can old Mac motherboards be replaced to run USB 2 or 3, which are quite fast? Will they address SSD drives? I dunno.

The wisdom of Larry Jordan, which I subscribe to, is to keep old hardware and old OS systems if you want to run old software. That’s why I’m running Premiere Pro CC 2013 on Mac OS 10.8.5 on a Macbook Pro. By the way, this 2013 Macbook Pro has a Thunderbolt connection. Maybe you could find one of these.

Cheers,
Robert

Robert Withers

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