fcp user-still on the fence-adobe suite yeh/ney?

[David Saraceno]

Then you are in the minority of professional colleagues of mine who have found it lacking.

Collaborative work in FCP X is still sorely lacking.

What I see with my professional colleagues is a wait and see attitude. Many are encouraged by the .1 release, and see the tool evolving, but are still on the fence.

In my view, getting a non skewed view from either side is unlikely.

Not a fan of Premiere, but it is getting better. I still use FCS 3, but impressed with some of the capabilities of FCP X.

I'm waiting and seeing.

 

[Gabrobot]

Oh, one random thing that I don't see mentioned that often...Premiere works natively in 32bit per channel color (FCP7 works in 8bit...or 10bit if you edit 10bit prores). One of the nice things about that is AVC/H264 footage with information above the clipping point (at about 100 IRE on Premiere's waveform monitor) still has that information in Premiere, so you can bring the levels down and get some of your highlights back. I find that the AF100 stores information like this, at least when using the Cine-V gamma. I like that I can do most of my color work in Premiere (using Colorista II) without worrying about the quality being worse than if I took it into AE or another program to do the grading.

 

[maarek]

long gop is a delivery codec, not an editing codec.

People tend to spew this around. Why? When have you delivered anything as 24mbps AVCHD? Everything I deliver is either DPX files, prores files or small h264 files. Not once have I delivered AVCHD-specced material anywhere and I've worked in a posthouse for 5 years. Mpeg2's are still being delivered but they are like 7mbps files for local channels.

For example the Mpeg2 that canon xf100/xf300 cameras are utilising is a long-gop EDITING codec. It's 50mbps 4:2:2. Only for old and quite FCP7 it doesn't work.

 

[ullanta]

Well, I hoped my post was clear in addressing specific. Workflow issues…. And thongs than be done purely in FCP, without needing other software (like encore). And, for my needs, 10 minutes of analyzing or "conforming" is as bad as 25 minutes of transcoding. That's the average timing traffics I've seen in 10 or do test projects.

He's asking about Premiere, not Encore. Encore is fine...the interface is a little difficult to just jump into, but it's pretty powerful and also does Blu-Ray authoring.

As far as editing AVCHD, no one in their right mind would ever edit straight off the SD card -- you're limited to USB 2.0 speeds/the speed of the card, plus it's just a bad idea as that's your original footage right there.

When the files are dragged into Premiere, they are "conformed"....In no way does this conforming process take anywhere near as long as transcoding. All files, regardless of format, are conformed and the process usually takes only a few seconds per clip.

Premiere is the best NLE on the market and the only "limitation" off the top of my head is that it only supports multi-cam from 4 cameras.

 

[Gabrobot]

And, for my needs, 10 minutes of analyzing or "conforming" is as bad as 25 minutes of transcoding.

There's no way something that takes 10 minutes to conform in Premiere will only take 25 minutes to transcode. Conforming for me usually takes 1-2 minutes at most...how much footage were you importing?

 

[J Davis]

I deliver ... small h264 files

if you're delivering h264 then you're delivering long gop, avchd is h264

 

[Postmaster]

Performing a razor edit in Premiere while the timeline is playing is non existent.

Shift - k

No crop tool

It´s called "crop" (you find it under "Transform")

There isn't a tab to see audio waveforms

You just need to fold down the audio tracks (click on the little triangle at the left side of each track)



Frank

 

[Jim Simon]

long gop is a delivery codec, not an editing codec.

I'll agree with that! But the proper solution here is for camera makers to stop creating GOP cameras. (Or perhaps more importantly, for professionals to stop buying GOP cameras.) ALL video cameras ever built should be capturing full raster frames from full resolution imagers and recording to I-frame only codecs with video, audio, timecode and metadata in a single file.

Until camera makers get their act together and do things correctly, there are plenty of codecs out there to use if one's system isn't up to the task of GOP editing. No need for Adobe to spend limited resources on developing their own.