[Trevor Asquerthian]

Hi Peter

I haven’t found the need to use FCPx in the last year, and no longer have it installed, so I’ve no idea.

I am having issues with 25P material outputting as 50P via the Mini-Monitor and my UltraStudio 4K – but those are from Premiere Pro.

Sorry to only bring more problems 😉

[Trevor Asquerthian]

Like the others say, you should use the track mixer.

But you can also pan one clip left, then select all clips on the odd tracks and paste attributes – selecting only panner. Repeat for even tracks.

[Trevor Asquerthian]

Nest v2 clip before applying track matte.
Open nested seq in source monitor then open source sequence in timeline
You can now repo & scale clip within mask.
Fiddly but best way I could figure to do it

[Trevor Asquerthian]

And I just realised you want to deliver 5.1 – you definitely need the help of an audio professional!

[Trevor Asquerthian]

during editorial you will select/discard tracks & takes, sync & adjust levels to an approximation of your final mix.

Unwise to do much more than this as you’ll spend time on material that may not make the final cut.

If you cannot afford time or money for professional audio mix and need to do it yourself I’d recommend you do it in PPRO. Send clips to Audition if you need to de click / denoise or otherwise use tricks that PPro does not have.

But if you have the time/money it’s best to get an audio professional to do the mix, once you have picture locked. You provide them with AAF/OMF or project & media and they’ll provide you with a full mix as a single file (plus M&E & stems as required.

Typically you will then marry those back with the (onlined, graded & graphiced) picture to export your deliverables.

(One show I do as a very tight turnaround involves the sound super & editor working together in the NLE (Avid) to retain flexibility and quality right up to transmission)

[Trevor Asquerthian]

If a 5.1 sequence then you can export to a 5.1 wav and check ‘export each channel as a seperate file’

If you’ve a 5.1 source file and you just want to treat it as 6 discrete tracks then modify audio channels to mono.

[Trevor Asquerthian]

https://forums.adobe.com/thread/1241741

Is a thread I found after suffering audio drop outs on a brand new nMP installation.

Seems like on ongoing problem.

[Trevor Asquerthian]

Stereo output is the default when creating a sequence in PPro. Your FCP screengrab is for a 6 track sequence though.

You can’t change the ‘master’ audio format of a sequence after creation in PPro but you can create a new sequence (choose ‘tracks’ tab in creation dialogue and set to ‘multichannel – 6’ to replicate your FCP seequence.

You can then copy and paste clips from another sequence.

Output mapping follows the settings in the ‘track mixer’ – e.g. you can send dialogue to 1&2 for full mix and to 5&6 for clean dialogue

[Trevor Asquerthian]

Premiere is fast and an excellent editor but, much like FCP7, does require much more mouse involvement.

As others have said the keyboard mapping is very customisable. I have rolled my own that is a .kys file that I copy to whatever system I work on. (You need to build one for Mac and one for pc)

Trim mode is best avoided but you can select edits / toggle trim sides / toggle ripple/roll / trim by frames or many etc all with keyboard shortcuts

Should you switch? Well if you get to choose then only you can answer (and FCPX is also interesting).

I mostly work at broadcasters/production companies/facility houses so use what is provided

Lately I’m suddenly seeing much more Adobe out there. I don’t think they’ll do an FCP style handbrake turn either…

1995 – 95% tape 5% avid
2000 – 50% avid 50% tape
2005 – 95% avid 5% tape
2010 – 60% avid 40% fcp7/others
2015 – 95% avid 5% adobe/fcp7/others
2020 guesstimate – 50-70% adobe, on current trends

[Trevor Asquerthian]

Avid does now have more than 24 tracks. It was a long time coming.

I think the incorrect 29.97 flag for your Ppro wavs shows up an underlying issue Adobe have with wav handling. (I recently tried to transfer a sequence contains wavs between cc2015 computers via xml & the wavs were out of sync & showing up in timeline as longer than the clips they linked to)

PPro AAFs (which Adobe only claim to be compatible with MC) are still a work in progress.

Avids AAF interchange is much more mature and probably has some proprietary voodoo in there.

PPRO <-> MC or ProTools is a much newer beast. They have come along a lot in the last few versions.

The more folks use it, and report problems in a concise & repeatable form, the quicker this stuff gets fixed. Previously large organisations (manufacturers & users) would do this R&D.

Feedback your problems, with repeatable errors, to adobe.com/go/wish to stand a chance of seeing them fixed.