Had to deliver some spots cut in Premiere Pro. The delivery required 29.97, but the spots were cut at 23.98 matching the source. So… here’s the best way to do this.
Step 1 – Export ProRes 422HQ versions from Premiere
Step 2 – Import the masters into Final Cut Pro X
Step 3 – Do the rate conversion In FCP X, because it works as well, and often better than a Terranex
So that’s it, 3 easy steps to getting a high quality rate converted master from Premiere
In recent twitter post. Ievgenii Larin wrote:
“If you want to grasp the Magnetic Timeline, open Premiere, put a stereo audio clip into a sequence and try to change stereo to dual mono.”
So I did. 🙂
The new Essential Graphics Panel in Premiere is a welcome addition, and is being compared to FCP X’s Motion Templates.
While I’m sure that – like FCP X – 3’rd parties will make some cool stuff, let’s take a quick look at the stock titles in Premiere vs the stock templates in FCP X.
Again, this is only the standard titles included in each app from the factory.
As this is a topic that seems to cause some confusion, I thought I’d write a little post about it. It confuses me sometimes too, so this post is also for me… to refer to when my brain freezes up. I’ve included the obligatory video below. It’s too long for a Gif-Tip™, but I’ve tried to be uncharachteristically concise. 🙂
So… there are 3 main ways to mute or disable audio in FCP X, all of which have different results. If you know what’s what, it’ll make your life easier, particularly when exporting movies, audio, or fcpxml to send to translation apps such as X2Pro. Here they is:
-Turning off the Role in the Timeline Index mutes it for playback, but it will still play if you export the Project with a comp mix. You can of course exclude Roles if you export a multitrack Quicktime (for stems, mix minus etc).
-Disabling (Muting) an audio clip or component (multichannel track) in the Timeline (V key) will do what you’d expect, you won’t hear it, and it won’t play in an export. However, it will be shown as enabled in an fcpxml export, and will appear, muted, in anything that uses that xml for translation.
-Disabling a clip or component in the Inspector makes it inaudible during Playback and export, it will not be shown in the timeline, and the fcpxml will indicate that it is disabled and it shouldn’t be included in any translations. **There is a preference in X2Pro (and other translation apps) that lets you choose to exclude or include disabled items the AAF.
With multichannel clips, the only way to not have all the components appear in an AAF, is to disable individual components in the Inspector. If you only want CH-1 & 3, you need to uncheck all the others.
** In X2Pro’s preferences, you can choose whether you want disabled clips/components to excluded, or included but muted. Make sure you set it for what you want!
For an exciting moving pictorial version of this post, see below. Hope it helps!
For some time now, aficionados of Premiere Pro have touted its ability to do “Pancake” editing. Huh? Well, in Premiere, you can stack (get it? stack… like pancakes) multiple timelines to quickly access string outs or sequences of selects etc., and add them to a cut. This is also often cited – by FCP X critics – as something you can’t do in FCP X.
Now, this is a really nice feature… in Premiere. But, it’s a technique that is completely unnecessary in FCP X. Why? Because in X you have access to everything, always. Have a look at the video below for an explanation. It’s not too long and rambling… honest!
Another “criticism” of FCP X, and alleged benefit of Premiere, is that it allows you to use a sequence as a source, and FCP X does not. Again, this is false. In X, you just do it differently… using compound clips.
In Premiere, making a sequence into a Nested Clip to use as a source is possible, but it’s really not a great way to do it. The main reason is that you can’t easily reveal the multiple clips inside the Nest once you’ve cut it into a sequence.
You also can use a sequence as a source, but the track targeting madness involved in doing that, with anything but the simplest sequence, is… maddening. So you use “Pancakes” as a workaround.
In X, using a Compound Clip made from a source project is a great way to use an existing cut as a source, as getting back to the clips in the Compound Clip is simple. The video below illustrates this, but the difference can be summed up in these “instructions”:
Ensure the nest toggle is off (upper left corner of timeline window), mark in and out on your nested clip, put the playhead at the top of the clip (in point) then match frame back to the nested sequence, then overwrite with the appropriate patching and voila your nested clip will be replaced with the contents of your original sequence.
Select the clip and press SHIFT-CMD-G.
A couple days ago, Apple posted a job opening for an Assistant Editor to work in the Beats marketing dept. The skill set required included Premiere, Avid, ProTools, and Resolve. No mention of FCP X or Logic.
Now, as this is for a position at Beats (Apple owned but a separate division) it’s likely they have an existing workflow using these apps, and for all we know they use PC’s too. Not the most PR aware thing in the world for Apple to do, but… whatever. Hell, I seriously doubt iCloud runs on Apple hardware, and it’s likely many Apple commercials are not cut using Apple software. Like Beats, the agencies they hire use whatever they use. But unlike Beats, they’re not owned by Apple, so their jobs aren’t posted on the corporate job board.
However, someone – who apparently isn’t a fan of FCP X – picked up on this, and then posted an article on The Verge with the clickbait title “Even Apple doesn’t want to use Final Cut Pro X”. It worked, the article is now linked to or referenced by everyone who ever had a problem with FCP X. It’s on anti-X websites/pages, it’s on pro-X websites and pages. And once again, the morons are out in force gleefully braying:
They’re just making sure they get a real editor not a wedding editor. Haha
Hahaaaa, if this wasn’t proof enough!
The best part about this advert is how all the FCPX fanboys are losing their shit saying it doesn’t matter. Yet every time FCPX is used for a TV show/feature “FCPX is amazing”.
OK, first off, the “wedding editor” insult really needs to be retired. I’ve seen wedding videos that make some feature films I’ve seen look like crap. Second, the fact that Beats is hiring an editor in Culver City doesn’t in any way reflect on what software “Apple” does or doesn’t want to use.
It seems to me that the majority of the vehement FCP X hate comes from former, or current, FCP “Classic” users who have some sort of weird psychological abandonment issues with Apple. I’m not talking about people who just don’t like X, or for whom X isn’t a good workflow fit, there are perfectly valid not to use any NLE. No, I’m talking about people who either tried X once 4 years ago, or who have never used it, and revel in every bit of opinion they can find to use as confirmation bias.
I know things like this are meaningless, and I suppose by even writing this post, I’m feeding the fire. But I work in a world where people have a real hard time accepting FCP X. Not for any serious technical reasons, but because they keep hearing crap like this and giving it credence. And for the record, I do think Apple needs to figure out a better PR approach for their pro apps.
But, just in case you were wondering… the people who take pleasure in spouting this nonsense, including whoever wrote this Verge “article”, have no idea what the fuck they are talking about.
It’s been pointed out that you do need to set your Roles properly in FCP X to enable this process. Takes about 10 seconds when you import files, (Role-O-Matic helps with more complicated situations) so I guess that’s 1 more step…
And… it’s been further pointed out that setting Roles is the equivalent of patching tracks, so it isn’t an extra step. This would be true… if you only needed to patch tracks once. This (obviously) isn’t the case. No matter how you slice it, it’s demonstrably easier to export splits from FCP X.
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a blog by Oliver Peters
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Deep Thoughts about FCP X, and why you should be using it.
