When you tell Premiere to interpret 60 frame footage as 24 it will just slow the footage down by doing a function similar to what cinema tools would do. It doesn’t actually rewrite the media to make it slower it just plays it back at slower frame rate. Unlike cinema tools this is a nondestructive process as the files on disk remain at the original frame rate.
In short no. It’s just like Final Cut Pro in that media resides in its original location when you drag it from the finder into the application. All media management is on the editor’s shoulders. Be careful because all the media management issues that happened in Final Cut Pro can happen in Premiere Pro as well. And the “reconnection dance” is a bit more difficult in that the off-line dialog box doesn’t have any automated searching functions.
Choose Window > Reference Monitor to bring up the reference monitor. It’s most useful with color correction as you can turn on the video scopes and gang that monitor to the timeline. If you choose the Workspace preset (Window > Workspace > Color Correction) for color correction the Reference Monitor is placed in that by default.
Check the official Adobe Premiere Pro CS6 tech specs page as there is a full list of supported hardware. Keep an eye on that page as those specs could change as Adobe supports more and more hardware.
No, the rename file to match clip and rename clip to match file is functionality that is not included in Premiere Pro CS6.
File size and MB per minute has less to do with the application you are capturing through but rather the codec you are capturing to. For example, capturing or trcoding the exact same clip to ProRes LT should result in a file that’s about the same size no matter which application you use to create it. Each ProRes flavor has its own specific bit rate it uses regardless of what application creates the file.
There’s no color correction specific copy/paste functions as color correction is effect/filter based in PPro. You can copy and paste effects of any kind so you can also copy/paste color correction effects or save presets of specific effects. See question number 78 for more about saving effects presets.
I think it’s well work investing in CS@I wouldn’t worry much about CS5 as it’s on its way out since CS6 is such a nice update. If you know CS6 you’ll be able to get around in CS@The new Adobe Creative Cloud is a more affordable way to get into CS6 without a large upfront cost since it’s a new subscription model.
FCP7 is still good to know since there are a lot of FCP7 installs out there but I might not buy a copy unless you know you need to use it or learn it for a paying job. And for what it’s worth it might be worth checking out Avid Media Composer (free trial here) as well.
That’s not my experience in CS@I very often mark IN to OUT in the timeline and choose the Sequence In/Out in the Source Range popup at the bottom of the Export Settings window and it only exports what is between the IN and OUT marks. This is true of exporting right from PPro as well as sending a queue to Adobe Media Encoder.
Premiere Pro CS6 is a sequence based editor in that the resolution and timecode base that you choose for a sequence is used when mixing media formats. For example, if you’re working in a 29.97 timeline and you add 23.98 media PPro is going to add pulldown to conform those 23.98 clips to the 29.97 timeline.
At the time of this writing I don’t think that Premiere Pro CS6 has been optimized for the new MacBook Pro with retina display. I can’t imagine Adobe wouldn’t optimize in the future as they have already shown that Photoshop will be optimized.
I don’t exactly understand the question but I don’t see why you would not want to trfer all of the original files into Premiere. If you want to move an edit from Final Cut Pro into Premiere you can do so by exporting XML’s out of Final Cut Pro and importing them into Premiere.
Adobe has specifically designed XML support into Premiere for this purpose. Many edits tritions in certain effects will come across intact. Not everything will trlate from one application to another but it’s a pretty seamless process. After the XML import it may be just a matter of relinking the edit to your original footage.
You’re looking for the option up arrow, down arrow shortcut that Final Cut Pro uses to move clips up and down into higher and lower video tracks or audio tracks. Premiere Pro CS6 does not have the shortcut or a similar keyboard shortcut. It’s too bad as this is one of those little features that Final Cut Pro has that works very very well and is very very useful. Please Adobe add such a shortcut or something similar.
I’m guessing the question is really how many clips can play back in real time in the multicam split because you can have many more clips in a multicam and you can play back. How many you can play back at once in real time is dependent on many factors including frame rate, resolution, speed of your Mac but more importantly hard drive speed.
The exact number is a bit unknown since I don’t know of a specific formula but if you’re using thunderbolt storage and you’re using ProRes as your codec of choice you will be able to play back more simultaneous streams you can actually keep track of in real-time.
Since FCP7 is at the end of its life there will probably come a time when new Mac OS upgrades or new Macintosh models will no longer support FCP@Who knows when this might happen (it could be years) but IMHO it’s worth starting to make a trition plan from FCP7 be it to Premiere Pro CS6, Avid Media Composer or Final Cut Pro X.
Yes you can use a second monitor with Premiere Pro. All window layouts can be adjusted at will and saved to new templates.
Premiere Pro CS six supports FCP XML so projects can be both imported and exported from Premiere Pro to Final Cut Pro. Export your entire project from Final Cut Pro as an XML and then import that XML into Premiere Pro. You may have to reconnect some media and it might not be a one hundred percent trlation but it’s actually quite easy process.
Riding the levels usually me using the mixer so if your mixer channels are set to Read you can adjust those levels without PPro recording the level keyframes.
But if you’re using other modes like Write, Touch or Latch then it will record those keyframes. That’s just the nature of track based audio mixing. See question number 9 for more on PPro audio.
I wouldn’t buy FCP7 unless you had a job guaranteeing that it would be paid for. I just don’t see speeding money on FCP7 when we know it’s dead. The Adobe CS suite would be an easy choice but also FCPX as it’s so affordable. But the perfect editor toolbox would include Avid Media Composer as there are a lot of Media Composer installs out there and if you’re freelance you never know when you’re going to get the call to use it.
Key differences that are important to me include : a much better, much cleaner and newly designed interface; adobe’s own version of skimming called Hover Scrub (that really is much more than skimming); much better third-party hardware integration with Mercury Trmit; and timeline trimming that is head and shoulders above what the previous versions of Premiere had.
I think the CS6 upgrade is a no-brainer as it’s a much much better application than it has been in the past.
Definitely not but the third party of PPro plugins hasn’t really had time to develop like it has for FCP with this new version. It’s a bit of the chicken / egg problem. More great third party plugins might attract more users to Premiere Pro CS6 but many developers probably need to see more editors using the tool before spending time developing for the platform. Adobe is keeping a good list of plugins on their website.
Yes, It’s called the Track Select Tool (it defaults to A on the keyboard). It selects one track at a time. Hitting Shift with the Track Selection tool active will give a double arrow that will select ALL tracks to the right. There isn’t an option to select tracks to the left.
You have to be careful when using the select all option in that if you release thee Shift key and click to drag it’ll then select only the single track you click on and deselect the “all” tracks you had selected. I make it a point to change to the Selection Tool (V) after making the selection if I need to click and drag.
The biggest advantage: speed. Combining the native file support which allows for near instant file access with the speed and precision that Hover Scrub can allow as well as the new trimming tools and you can work very fast the new version of Premiere.
The biggest disadvantage: media management. Like FCP Premiere is just using a file path to get to the media on your hard drive. There is no “media management” above and beyond what you the editor are doing on your own. Reconnecting off-line media can be more difficult than FCP7 because Premiere doesn’t have any way to automatically search a drive for the clip is looking for. This can become even more tedious with file-based media as it often has cryptic filenames.
If you click a trition will open in the effect editor and let you edit the trition there. When changing the duration by typing a number in the effect editor it will symmetrically change the trition on both sides.
But if you want to just click and drag in a timeline to symmetrically change the trition wer is no it only changes one-sided time when you click and drag. It would also be nice if it told you the new trition lenght.
Premiere is a track based audio editor which me when you’re using the audio mixer and moving sliders up-and-down you are changing the level for an entire audio track and not just an audio clip. You can adjust the audio on a per-clip basis by using the audio volume rubber bands that are available when you twirl down one of the audio timelines.
The audio rubber banding works very much like Final Cut Pro where you can and keyframes and adjust the rubber bands with the mouse. Rubber banding and key framing the rubber bands can also be turned on on a per track basis as well.
You could let them know how similar the applications are overall so there wouldn’t be the learning curve that moving to FCPX or Avid Media Composer might have. There’s the new subscription pricing model that the Adobe Creative Cloud offers that makes it a bit more affordable than before. And there’s the fact that Premiere Pro CS6 is a modern 64-bit application that will be supported by Adobe moving into the future while legacy Final Cut Pro is an older 32-bit architecture that is basically at the end of its life as far as support and updates go.
I’ve seen the same problem and I was led to believe it has to do with renders on the timeline. You might try clearing or deleting any renders on the current timeline and try again. But I have seen the issue happen on a completely unrendered timeline. My guess is that Colorista II just isn’t optimized for Premiere Pro CS six as of yet. It seems to work much better in after effects.
Nope, PPro doesn’t have this option to rename “Clip to Match File” or “File to Match Clip” that FCP has. That could be a dangerous option if you didn’t know what you are doing so it’s certainly not a deal-breaker for me … though I used it in FCP quite a lot.
I honestly don’t have any idea but here are a couple of links that might help:
An Adobe PDF about working with XDCAM and this Adobe forum post from CS5 about going back to disk. If that doesn’t help a post into Adobe’s official forums might be a good idea.
Premiere Pro CS6 introduced Mercury Trmit which is technology that allows third-party hardware vendors to write specific drivers for this new version. It works very well and works with many different third party video cards.
The hardware that is supported in version 6, with the proper drivers, will take advantage of the Mercury playback engine and provide all the benefits and real-time playback capabilities that Murphy playback engine provides.
That’s tough to say overall but being that PPro CS6 is a 64-bit application it’ll take a lot of the RAM you throw at it. I’ve spent some time with the Mac Activity Monitor open when working and it seems pretty efficient at managing resources but I have to admit I have an NVIDIA Quadro 4000 for Mac which allows for amazing realtime performance in the timeline using the Mercury Playback engine.
One thing that I have seen peg the processor and its cores is using the Warp Stabilizer which has to analyze footage first, though it will analyze it in the background.
Unfortunately Adobe doesn’t have a native intermediate codec like ProRes or DNxHD. They really hang their hat on the native workflow and Premiere CS6 does work very well with native formats like XDCam or DSLR H26@It works especially well if you have an NVIDIA CIDA enabled the GPU that can take full advantage of the Mercury Playback engine. That said there are times when an intermediate codec is very nice to have and quite needed. I’ve used ProRes a lot in version 6 without any issues.
Premiere Pro CS 6 doesn’t have an automated audio syncing function like Final Cut Pro 10 has. You can get a version of PluralEyes that works with Premiere though. What Premiere does have are syncing functions such as syncing by markers, timecode, in and out points as well as the ability to align clips in the timeline based on functions such as markers and timecode.
There doesn’t seem to be. This Adobe forum thread called “Premiere multicam to after effects” might have some helpful tips though. It seems like there should be an option to collapse or commit multicam clips for just this purpose. Maybe in CS6.5.
I’ll use Premiere Pro CS6 where I would have used FCP7 in the past, for things like graphics heavy pieces or jobs where I need to do a lot of effects and motion graphics work since After Effects is well integrated. If I know I’m staying in my system and not having to go to our Baselight for color grading that’s another option to work in PPro.
But if I know I have to go to the Baselight then another NLE might work better as PPro doesn’t have any Media Manager or Consolidate/Trcode function like FCP7 or Avid Media Composer has.
An iMac has a built-in GPU so unfortunately there is no way to add an NVIDIA CUDA-enabled GPU to an iMac. If you have a thunderbolt iMac there could be an option for a external GPU chassis to allow you to use a CUDA enabled GPU. I don’t know if those options have been thoroughly flushed out and tested as of this writing.
I think it’s the new trimming capabilities that is in version @They’re very powerful so they can be a bit confusing to learn if you’re coming from Final Cut Pro 7 where the trimming was very different. And while I love features like Hover Scrub and the new, uncluttered interface it’s the trimming that wins for me hands-down.
I would encourage any FCP7 editor moving to Premiere to study the trimming very very closely. FCP7 editors should also look very closely at dynamic trimming which is trimming with actual playback including JKL scrubbing. FCP7 had this feature it just didn’t work very well and was rarely used.
Yes but this works on a TRACK based level and not per-clip. This goes back to the big difference in mixing between Final Cut Pro and Premiere Pro. PPro is a track based audio tool and the Audio Mixer works on a track based level both for adjusting levels and recording automation keyframes.
It would handle it quite well considering Thunderbolt’s connection speed. To get the most out of this setup a fast RAID like the Promise Pegasus would be perfect and allow enough speed to even edit uncompressed video if need be.
That’s a very subjective question but in short it’s much faster than FCP7 since you can work native with most media and don’t have to trcode. That’s a huge speed boost right there. It can also work natively with more files then Final Cut Pro X so that could also be a speed boost. The features like Hover Scrub which is very similar to FCPX skimming can also speed along the edit process. Other than that I think it’s more in the hands of the editor as to how fast one can work in the particular application. In my mind I can trim much better and much faster with the Premiere’s new trimming tools (including dynamic trimming) than I can in FCPX using its tools.
What Premiere Pro doesn’t have that FCPX does have is the automated analysis capabilities that can analyze for things like color balance, audio problems, rolling shutter and camera shake. PPro does include the Warp Stabilizer which is one of the more amazing stabilization tools out there in any non-linear editor.
When you move a clip the track-based audio key-framing that you have done does not move. This is just the nature of track based audio mixing in Premiere Pro CS6.
You’ll notice that when you have Track Keyframes and Volumes turned on your can’t just grab audio clips for trimming and moving. Again, the nature of track based mixing in PPro CS@You can still move and trim the audio by turning off Track Keyframes or grabbing and trimming the attached video but the audio track keyframes don’t move.
You have to create a new title for each subtitle. Each time you cut a title into two in the timeline it still acts like one … as in if you change the text in one it’ll change in the others as well. Same if you copy and paste titles in the timeline. You can duplicate titles in a Bin and change those to have new and different titles but not in the timeline.
So I think the wer is to create or duplicate a new title in a Bin each time you need a new title and edit that into the timeline. Probably not the speedy wer you were looking for.
Not necessarily though this is a hot topic debate often debated amongst editors and depending on who you talk to opinions may vary.
I have had some very successful edits that combine Sony XDCam media with native Canon DSLR media. I am running a supported NVIDIA CUDA graphics card and that really helps the Mercury Elayback engine scream when working with native media.
No, there’s no direct export to Motion but you could XML export out of PPro and then import that into FCP7 to go to Motion. Or you could use After Effects to do most anything you might do in Motion. AE has a steep learning curve but it is very, very powerful.
This is a very subjective list for sure but check out this recent blog post 10 Final Cut Pro things FCP editors might be missing in Adobe Premiere Pro CS6.
I have had very good luck working with native DSLR footage in Premiere. I am fortunate enough to have an NVIDIA Quadro 4000 for Mac video card that is CUDA enabled which makes playback very very fast.
PPro does use scratch folders that are accessed and set via the Project > Project Settings > Scratch Disk menu. It’s like FCP7 in that imported media resides in its original location but any new media captured from tape or rendered in the timeline is written to the Scratch disks.
Premiere does support the mixing of resolutions and formats which is exactly what you’ll be doing if you mix HD with DV. You can play back this media without a RAID (especially DV) but the faster your drive the better performance you’re going to get especially with multicam. The faster your media drive the better overall performance you’re going to see when editing.
For example’ you’ll play back ProRes Proxy a lot better than you will be able to play ProRes 4444 if you’re cutting with just a FireWire drive. In my opinion, a fast RAID is one of the best investments a hard-core editor can make. As drives fill a drive up with multiple projects at HD resolutions a fast drive can often mean the difference between dropped frames and smooth playback.