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Moving from FCPX to Premiere Pro, some questions

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Joshua PearsonMoving from FCPX to Premiere Pro, some questions
by on May 28, 2015 at 11:25:25 pm

Moving from FCPX to PPro... pros and cons... long post.

Hard to put all this into words, so bear with me. After using FCP7 since it first came out, I have been using FCPX almost exclusively for the past two years, and have cut a few short form and one big long for feature doc on it. For all of its foibles, I enjoy it.

Now for various reasons I need to do a job on Premiere. Ironically I learned to digitally edit in about 1993 (after cutting on 3/4" tape for a few years previously) on Premiere with a Radius Video Vision card, then a Media 100 card, then Media 100 software, until FCP7 came along. Never realy touched Avid, but played with it recently.

So now I've come full circle, and have been re-learning Premiere which of course is not that hard coming from heavy FCP7 use, but I must say FCPX has spoiled me for two main reasons:

1) Without realizing it, I fell in love with keyword collections. I guess the parallel in PPro, as it was in FCP7, is to build SLX sequences, but they are much more cumbersome than keyword collections. So i dug deeper and am liking using markers and the marker panel. But still very different from keyword collections. One big request would be to select multiple sequences and see ALL the markers, and search them globally... can this be done?

2) For some reason the production team is getting a LOT of external audio, like 8 tracks for interviews and verite. This makes track patching extremely painful, i.e. when i have my interview clip with merged audio in V1 and A1 thru A8, when i load a verite clip whose sound (musicians jamming) I want to run under the interview, and this clip ALSO has 8 merged audio channels, it seems I need to manually one-by-one drag all 8 "source assignment" tracks A1 thru A8 on the source side, to patch them to target tracks A9 thru A16 in my sequence. I hope I am doing something wrong. Please illuminate! I really, really miss the way FCPX bundles all this audio into one clip. Also, when i want to put volume automation on all 8 of those channels I have to do it to one track and then copy /paste attributes to the rest.

So instead I am experimenting with loading sequences into the source monitor and editing these as nested sequences into my cut, and leaving it to the assistant to match frame back and cut in all the separate audio clips. I am totally spoiled by FCPX in that regard!

Mind you, in the early FCP7 years, i didn't seem to have to deal with so much external audio, but as the years went by it seemed production teams were recording more & more external audio. So after a few years of source/record editing with clips made with whatever audio was going into in the camera, gradually my style shifted to creating SLX sequences, then setting and in & outs there, copy, then going to my main sequence and paste, and that way when cutting a clip with many audio tracks user other clips with may audio tracks, at least you only had to re-target one audio track and the rest would automatically paste below that track. I see that Premiere works the same way. But that kind of cut and paste from one sequence to another seems so much slower now that I've been spoiled by FCPX, which really got me back into good old source/record editing that was really really fast due to never having to patch tracks.

Ah well, these are interesting times. I hope this makes sense, its hard to verbally describe these editing techniques. Thanks for any insights and tips!

--josh



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