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A follow up to Good bye FCPX,

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Brooks Tomlinson
A follow up to Good bye FCPX,
on Aug 20, 2012 at 3:46:00 pm

I was asked by Walter and Franz to post intial feelings on premiere pro cs6. So I had two easy 60 second promos to cut. Here are my first
reactions. (MacBook pro retina, FYI I use the mbpr in full resolution
mode. So no complaints about blurry icons. Small but I have good eyes)

-Ohh, cool, it works really fast with my h.264 af-100 footage.
-Cool I don't have to render it, even though it's red.
-Oh, this no rendering is keen
-My heart skips a beat every time I launch the program, because for a
brief period of time it says media off line
-What !$@&$!!! When you cancel a render it doesn't keep the part it
has rendered? Wth? (what the heck?)please tell me I'm doing it wrong,
and it's an easy fix.
-I wish you could change sequence settings, instead you have to make a
new sequence.
-Keyboard short cuts work fine
-I can cut with this just fine, fcp7 replacement in my book so far
-Ohh, me likey the rate stretch tool
-Dynamic link with after effects works awesome. No hiccups so far
-I could actually color correct something.
-Sad, Speed Grade doesn't dynamic link. Wait, that's a no brainer, why doesn't it dynamic link?
-yea, I can set my workspace how ever I want it. "~" key is my best friend

That is my impressions so far. I was happy with the color correction I
could do. I watch the ripple training and a bunch of tutorials for
fcpx and never could cc to my liking. Here I was able to get it with
out much effort. (I'm no stranger to color correcting, example,Pass: color ) With these two 60sec promos
projects I worked all native. And just dragged the clips I wanted off
the copy of the SD card. Next project I do, I want to see how prelude
does, in converting, and work in a pro res work flow. (I'm just a fan
of the pro res codec)
Interesting to note, I exported out a 22sec clip from premiere pro, and it was 120mb bigger than the same clip from fcpX. I can understand that apple would have the proRes clip down, and compress with it better. I've always noticed that adobe is a little fat on the prores.

My number one favorite feature? dynamic link between after effects, and CS6 having a catch (finally!!). It was like if I had to much of a problem, I could "run home to momma" and get the job done there. AE is the swiss army tool that everyone need to know.

I could say a lot more, but just ask me questions, I don't want to make it tldr.

Brooks Tomlinson
"I dream in 32bit float"


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Oliver Peters
Re: A follow up to Good bye FCPX,
on Aug 20, 2012 at 4:03:02 pm

[Brooks Tomlinson] "-Speed Grade doesn't dynamic link. Wait, that's a no brainer, why doesn't it dynamic link?"

Probably in a future version. Right now, SpeedGrade and Premiere Pro do not support the same native codecs. For example, you can open a native AVC-Intra file from the P2 structure in Premiere Pro. You can't (yet) do that in SpeedGrade. Therefore, no way to do Dynamic Link.

Right now, SG is positioned as the "end of the line" tool in the Adobe workflow. So "Send To SG" (but Premiere will render "baked" uncompressed DPX files as intermediates) or export an EDL and relink in SG. The latter makes more sense if you were cutting with ProRes or uncompressed QT media, for example.

- Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com


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Joseph Owens
Re: A follow up to Good bye FCPX,
on Aug 20, 2012 at 4:11:15 pm

[Oliver Peters] "Right now, SG is positioned as the "end of the line" tool in the Adobe workflow."

They will soon learn that grading as it is currently practiced needs to be fully linked to the editor. The workflow just doesn't exist anymore where grade occurs as the last step.

jPo

"I always pass on free advice -- its never of any use to me" Oscar Wilde.


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Gary Huff
Re: A follow up to Good bye FCPX,
on Aug 20, 2012 at 4:15:51 pm

[Joseph Owens] "They will soon learn that grading as it is currently practiced needs to be fully linked to the editor. The workflow just doesn't exist anymore where grade occurs as the last step."

Speed Grade was purchased from a third-party and brought into the Adobe fold. I'm sure that it will get advanced Dynamic Link options as they continue to integrate it into the collection.


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Bret Williams
Re: A follow up to Good bye FCPX,
on Aug 20, 2012 at 6:55:04 pm

Auto sync of multicam via audio?
Acceleration of iMac 6970m GPU without a hack that causes multiple crashes and sluggishness?

Those are two things keeping me in X vs CS6.

Otherwise the reasons I'm using X are similar to the reasons to use CS6.


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Brooks Tomlinson
Re: A follow up to Good bye FCPX,
on Aug 20, 2012 at 8:20:57 pm

[Bret Williams] "Acceleration of iMac 6970m GPU without a hack that causes multiple crashes and sluggishness?"

Yep I can understand that 100%, it was the same with my macbook pro 13 inch. As long as I was running off the internal SSD, I could edit HD really well. That has always been the feeling I have gotten with every adobe product. As long as your machine is the kick, you will have no problems. Another plus to adobe though, it is platform agnostic.



[Bret Williams] "Auto sync of multicam via audio?"
Was that feature in FCP 7? I can't remember. I don't do much multicam work, but I just watched a couple of demo/tutorials on multicam cs6 and mulitcam fcp x. FCP x looks way easier.

Hey Bret, on a sorta related question. When I brought in the clip to compare how each program handles pro-res, in FCP x on the open archive, I could not figure out how to see the native timecode of the clip. My clip was really long, and I knew the timecode start from Adobe, but could not figure out how to import just the timecode range I wanted.

Brooks Tomlinson
"I dream in 32bit float"


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Bret Williams
Re: A follow up to Good bye FCPX,
on Aug 20, 2012 at 9:31:52 pm

Yes, FCP X is pretty much the gold standard in MultiCam IMHO. Before you would have to use plural eyes to sync the cams to the external audio. Now it's done in seconds.

I have only used open archive to bring in a shot or two from my iPad. I love that. Plug it in and there are all your clips to browse. Not sure if 7 did that. I didn't have an iPad then. I used it yesterday to record a quick sound effect and import it.

For TC? Ctrl + y (show skimmer info). Shows TC right above the cursor as you skim/select ranges.

But why only import a section? Are you transcoding or copying? I just import. I don't copy or transcode. Just takes up more space. The only setting for import that I have on is make folders keyword collections. That way my cards and cameras are organized on import. Ditto with a folder of graphics, or AE renders, etc. But that's imports. Not archives. Don't want to confuse.


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Brooks Tomlinson
Re: A follow up to Good bye FCPX,
on Aug 21, 2012 at 12:46:01 am

[Bret Williams] "Yes, FCP X is pretty much the gold standard in MultiCam IMHO. Before you would have to use plural eyes to sync the cams to the external audio. Now it's done in seconds. "

Ya, that does sound awesome. In another post I also said that for putting your first cut (1st draft) there is not a better program out there.

Control y was the ticket. Thanks for that, it was one of the forgotten shortcuts. The instant i read your post, I did a total recall of the ripple training dude talking about that.

Well in this case I was cherry picking clips off my network storage (1) to store locally on my laptop for a new demo reel. Using FCPx as an easy way to convert to prores. But I have limited fast storage, so I like to keep my media size down (I asked a long time ago about if fcpx could convert just the stuff you edited to the project into pro res, and unfortunately the answer was a no.) I prefer ssd's to firewire drives. Plus, I am getting horrible performance on all my firewire drives using my MBPr.

(1) Network Storage = airport extreme with all my not in use drives hooked up to a usb 2.0 hub. I keep a copy of all my client media assessable over the air drive.

also I enjoy the crack of the fast drive. so i try to keep my media lean.

Brooks Tomlinson
"I dream in 32bit float"


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Bret Williams
Re: A follow up to Good bye FCPX,
on Aug 21, 2012 at 11:22:24 am

Wow Brooks, I was literally looking for a way to do something like that. Like a 10 port wifi USB or FireWire hub. One with a powerstrip attached would be great. Some sort of little cabinet, with a power switch for each drive, and integrated wifi USB and FireWire would be the ultimate. Or I guess airport and a USB hub is fine too.


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Brooks Tomlinson
Re: A follow up to Good bye FCPX,
on Aug 20, 2012 at 8:23:29 pm

Original post Here

Brooks Tomlinson
"I dream in 32bit float"


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Dennis Radeke
Re: A follow up to Good bye FCPX,
on Aug 21, 2012 at 9:29:18 am

Hi all and Brooks.

Yes, we know that Speedgrade needs more integration work that Adobe is known for. We had just a few months from acquiring Iridas to actually shipping CS6 so quite frankly, we're all amazed at how much work the engineers actually got done. Stay tuned for the future, I'm sure we'll have a deeply integrated workflow at some point.

'~' is your good friend
'ctrl+~' is your best friend on a single monitor system (like a laptop)
Prelude is definitely a cool tool, but if you want to batch process try AME with the Pro Res presets http://www.adobe.com/support/downloads/detail.jsp?ftpID=5411


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Keith Koby
Re: A follow up to Good bye FCPX,
on Aug 21, 2012 at 1:42:37 pm

Thanks for the link.

The NTSC DV sized presets would be more useful if they matched the FCP 7 legacy formats for ProRes. (720x486 vs the 720x480 that you have there). Not entirely sure that it matters to Premiere.

The Adobe Media Encoder as a whole would be much, much better if it didn't down mix audio to mono or stereo. Just pass the channels through as is in the source.


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Dennis Radeke
Re: A follow up to Good bye FCPX,
on Aug 21, 2012 at 1:52:48 pm

Keith - thanks for the input!

This is a good opportunity for me top mention our feature request link: https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform

We actively tabulate and look at these requests, so they don't fall into an Internet black hole!

Additionally, you can take a preset and modify it to suit your audio needs and then save it as a custom preset.

As for 720x480 vs. 486 - 480 is the correct one: http://www.adamwilt.com/DV-tech.html

As is our aspect ratio .9091 vs. .90 (4x3) & 1.2121 (16x9)

Thanks,
Dennis - Adobe guy


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Chee Wee Tan
Re: A follow up to Good bye FCPX,
on Oct 4, 2012 at 4:21:58 am

Is there an Audio Bypass at all in Encoder?

Budget always not enuff.
http://www.dogbonepost.com


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Dennis Radeke
Re: A follow up to Good bye FCPX,
on Oct 4, 2012 at 4:04:43 pm

[Chee Wee Tan] "Is there an Audio Bypass at all in Encoder?"

When you're in the export dialog box of Premiere Pro or the Setting box of Adobe Media Encoder, you will see a check box to not encode audio or video.


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Chee Wee Tan
Re: A follow up to Good bye FCPX,
on Oct 4, 2012 at 4:23:55 pm

Sorry, maybe I used the wrong word. It is not "bypass" but "Pass Thru". So that the audio is exported but without any processes, only the video is converted to some other format.

A function so important, I had to continue using Compressor.

And for that matter, how about Built-in Timecode (BITC) by reading from the timecode track of a MOV file.

Budget always not enuff.
http://www.dogbonepost.com


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Dennis Radeke
Re: A follow up to Good bye FCPX,
on Oct 5, 2012 at 1:17:35 pm

For item #1, nope we don't do that. As for #2, I would like to see that native within Premiere Pro as many others would.


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Chris Harlan
Re: A follow up to Good bye FCPX,
on Aug 21, 2012 at 5:05:59 pm

[Keith Koby] "720x480"

Keith, 720x480 is the correct pixel count for DV.


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Jacob Hoehne
Re: A follow up to Good bye FCPX,
on Aug 23, 2012 at 5:38:45 am

Thanks for the play by play. We are still frozen on FCP because of inertia and the unknown. Most of our workstations already have Premiere installed due to CS bundle, but it's hard to pick the project to be the Guinea pig.

Jacob

issimoproductions.com


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Gary Huff
Re: A follow up to Good bye FCPX,
on Aug 23, 2012 at 5:03:39 pm

[Jacob Hoehne] "but it's hard to pick the project to be the Guinea pig."

Much easier to get a project back into FCP7 (provided you're dealing with QuickTime re-wraps of course) from Premiere than from FCPX into FCP7.


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