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Sharknado 2 (the second one) uses XML to routinely travel between Premiere CC and FCP7

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Gary Huff
Sharknado 2 (the second one) uses XML to routinely travel between Premiere CC and FCP7
on Aug 2, 2014 at 4:32:52 pm

From Pro Video Coalition:

So here’s how I seamlessly integrated Premiere Pro CC into a FCP7 workflow. 1. Opened the FCP7 Sharknado 2 project in my studio. 2. Relinked to the clone drive and made all assets active in FCP7. 3. Exported XML from FCP7. 4. Imported XML into Premiere Pro CC. 5. Relinked footage inside Premiere Pro CC. 6. Done.

Good thing this was just a narrative feature and not a documentary with a bunch of source footage, otherwise they would have been screwed!


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Oliver Peters
Re: Sharknado 2 (the second one) uses XML to routinely travel between Premiere CC and FCP7
on Aug 3, 2014 at 3:48:30 pm

[Gary Huff] "Good thing this was just a narrative feature and not a documentary with a bunch of source footage"

I'm not sure that's true. The key to this workflow was having all footage transcoded to a common format with proper TC and reel IDs. This edit used ProRes transcodes as edit proxies. The same discipline needs to be applied to documentary production. Otherwise, it's a mess, no matter what NLE you use - unless, you stay within a single, self-contained managed media library, as with FCP X or Avid MC.

- Oliver

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


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Gary Huff
Re: Sharknado 2 (the second one) uses XML to routinely travel between Premiere CC and FCP7
on Aug 3, 2014 at 7:55:19 pm

[Oliver Peters] "The key to this workflow was having all footage transcoded to a common format with proper TC and reel IDs."

I would agree that having it all transcoded to ProRes helped. Can't really get into 7 if you don't have a format that 7 actually can work with (so AVCHD ClipWrapped to .MOV should work, but not if you used Media Browser to import the MTS files...for instance).

I don't know if proper TC and reel IDs are that important. As long as you can actually import the clip itself into FCP7, then it should keep everything the same.


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Oliver Peters
Re: Sharknado 2 (the second one) uses XML to routinely travel between Premiere CC and FCP7
on Aug 3, 2014 at 8:00:02 pm

[Gary Huff] "I don't know if proper TC and reel IDs are that important."

Some translation methods require it.

- Oliver

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


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Shane Ross
Re: Sharknado 2 (the second one) uses XML to routinely travel between Premiere CC and FCP7
on Aug 4, 2014 at 9:46:39 pm

[Gary Huff] "I don't know if proper TC and reel IDs are that important. "

Those two things are THE MOST IMPORTANT information...most basic information...for media. They are that important when linking. Like saying "I don't think wheels are that important on cars..."

Shane
Little Frog Post
Read my blog, Little Frog in High Def


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Gary Huff
Re: Sharknado 2 (the second one) uses XML to routinely travel between Premiere CC and FCP7
on Aug 5, 2014 at 1:17:16 pm

[Shane Ross] "Those two things are THE MOST IMPORTANT information...most basic information...for media."

For media or for re-linking?


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Shane Ross
Re: Sharknado 2 (the second one) uses XML to routinely travel between Premiere CC and FCP7
on Aug 5, 2014 at 7:24:23 pm

[Gary Huff] "For media or for re-linking?"

For EVERYTHING. Linking, exporting AAF, XML...EDL. Tracking the footage. What if a hard drive dies and you need to rebuild the cut? Reel and TC allow you to do that. Same with rebuilding an old project that no longer has the "transcoded" media files.

What if you need to track stock footage? That info is essential. What if you have time-of-day stuff shot and you have a producer going "it was shot at XX time on XX date?" Well, timecode gets you the time of day, and the reel can be tracked to the date (we label our reels by date and project).

Export AAF or XML for other systems...audio, tracking software. Most important, basic information is reel and timecode.

The tapeless card you shot...that's the REEL. Back it up, give it a name. That's how you track what comes from where. "it was the 4th card we shoot on X day." Well, how do you track that...by giving a reel number. No reel number...say you name all the cards CARD A...and you have 4 of them for that day...how do you know where to look? What was shot first? But ISA080514_01A packs in a lot of information... "In Search of Aliens...August 5, 2014...card 1...A Camera" If you have 2-3 cameras running, shooting 6 hours a day, and you have 24 cards...you need to track it. And then the timecode is time of day, so you can look for matching angles, multiclip the footage...find the shot the producer knows they shot "near 3PM, when we were up on the mountain."

Shane
Little Frog Post
Read my blog, Little Frog in High Def


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Walter Soyka
Re: Sharknado 2 (the second one) uses XML to routinely travel between Premiere CC and FCP7
on Aug 5, 2014 at 3:36:35 pm

[Gary Huff] "I don't know if proper TC and reel IDs are that important. "

[Shane Ross] "Those two things are THE MOST IMPORTANT information...most basic information...for media. They are that important when linking. Like saying "I don't think wheels are that important on cars..."

In fairness to Gary, file-based workflows can work without unique reel/TC (even when you have identically-named source files, as long as they have different media lengths).

But I do think the point stands that some systems do require reel/TC, and that reel/TC is valuable even in file-based workflows to more easily differentiate what may be identically-named files.

Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive [twitter]   |   RenderBreak [blog]   |   Profile [LinkedIn]


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Oliver Peters
Re: Sharknado 2 (the second one) uses XML to routinely travel between Premiere CC and FCP7
on Aug 5, 2014 at 4:04:38 pm

[Walter Soyka] "In fairness to Gary, file-based workflows can work without unique reel/TC (even when you have identically-named source files, as long as they have different media lengths)."

Of course they can, but usually this means a closed environment. When interoperability between apps and facilities is involved, lack of reel/TC will often result in disasters - and not the toothy kind. ;-)

- Oliver

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


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Gary Huff
Re: Sharknado 2 (the second one) uses XML to routinely travel between Premiere CC and FCP7
on Aug 5, 2014 at 4:20:43 pm

[Oliver Peters] "When interoperability between apps and facilities is involved, lack of reel/TC will often result in disasters"

I've had translations between Premiere CS5 and FCP7 with a manual editing of the XML to link to the REDCODE QuickTime proxies instead of the R3D. And that worked.

Reel/TC wasn't done properly on that shoot.


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Richard Herd
Re: Sharknado 2 (the second one) uses XML to routinely travel between Premiere CC and FCP7
on Aug 4, 2014 at 10:47:55 pm

[Gary Huff] "AVCHD ClipWrapped to .MOV"

Prelude does a great job of transcoding and keeping track of everything, so the media are easily importable via Media Browser.

Having Prelude on set for the DIT ain't such a bad idea.


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