Editing Footage between Premiere and FCP

If I gave a Premiere editor low quality small AVI files for him to edit then have him export and EDL and give me it, could I open the EDL and reconnect it with my high quality HDV or Pro-Res files? Thanks

RichCamp,
Forget about AVI files.
Give to your editor an exact copy of your HDV media (On a tape if they are going to start a project from scratch, otherwise a hard drive containing your media if they need to reconnect that to an existing project of yours sent as EDL).
After your editor completes his/her job he/she can send you back a new EDL and the drive with the media used. Simple and easy, done many times. It works just fine.

Similar Messages

General workflow between FCS and FCP question....

Hey all.
I'm totally new to FCS, and while in a few hours I've figured out a lot about how it works, what is totally eluding me is how to establish an efficient work flow back and forth between FCS and FCP...it's really driving me crazy.
Yeah, I know, read the manual...but nothing I'm finding anywhere seems to be a really direct, straight-up description of how to get a FCP project up and running.
Specifically I am dealing with the whole "checking out" a project thing, creating proxies, etc., it just feels very awkward. The test project I'm working with has 1 (ONE!) clip (granted a 28GB HD clip)...but FCS is not allowing me to make a proxy into the cache, this is after I already took that clip into FCP, cut it, saved it, checked it back into FCS just to make sure I got the basics of flowing back and forth down.
I wish I could be more specific, but I really really really just want a basic explanation of how to use the FCS as, you know, a server.
Anyone who can point me in that direction is a GOD!
thanks,
Mark

Hi Mark,
Here are the specific sections of the manual that should give you the best explanation regarding the Check out/in workflow for FCP projects in Final Cut Server:
Check out:
http://documentation.apple.com/en/finalcutserver/usermanual/#chapter=7%26section =5
Editing:
http://documentation.apple.com/en/finalcutserver/usermanual/#chapter=7%26section =6
Check in:
http://documentation.apple.com/en/finalcutserver/usermanual/#chapter=7%26section =7
-Daniel

Round trip workflow with proxies between Premiere and AE / a more general question about how these programs work?

Hi all,
I'm new to editing with proxies in Premiere and have some questions about how to handle the relationship with After Effects. Say I have a rough cut (with proxies) and I want to send it to AE to do some effects. The simplest thing to do seems to be to replace the proxies with the originals in Premiere, send the project to AE and do my thing. But if I then want to send the project back to Premiere, it will involve the original files, which are too machine-intensive for me to edit. In theory, it seems like there should be a way to send the project with original footage to AE, do effects, send it back to Premiere, and then replace it with proxies to do further editing while retaining the effects.
This leads to a confusion about how AE works. When I do an effect, am I correct in assuming that it does nothing to the original file? If that's the case, it seems like it shouldn't matter (in the editing stage) what file AE "applies" an effect to (proxy or original). But I feel like there's a hitch in this workflow. The same question could also be asked about going back and forth in Speed Grade.
Perhaps there is no real answer to this and the best option is to save effects and grading for after I have picture lock, but sometimes that's not entirely possible or convenient, etc.
Hopefully this makes some sense—It's a little hard to explain.
Thanks.

Hi Mark,
Here are the specific sections of the manual that should give you the best explanation regarding the Check out/in workflow for FCP projects in Final Cut Server:
Check out:
http://documentation.apple.com/en/finalcutserver/usermanual/#chapter=7%26section =5
Editing:
http://documentation.apple.com/en/finalcutserver/usermanual/#chapter=7%26section =6
Check in:
http://documentation.apple.com/en/finalcutserver/usermanual/#chapter=7%26section =7
-Daniel

Question about Workflow between Premiere and After Effects

Hey guys, I have Production Premium CS5 (Premiere and AE)
One thing that has always confused me was basic workflow between these 2 products. Is it best to get your clips, but them into sequence, do the basic effects that Premiere supports and output into the highest quality video in order to take into AE and apply effects to?
Or should I take video footage, do my After Effects work, export that as a clip that will then be used in the video composition in Premiere? I know I don't want to move a project too many times between because of compression, so what would the most optimized workflow be?
FYI, I am doing a lot of video game frag movies, so I have a lot of effects I like to put into it.

Really?
I'm always amazed at Photoshop's cold boot startup time. On my rig it takes 8 seconds. From a warm boot, Photoshop will start in 2-4 seconds.
This isn't the case with my video editing software though...
Sony Vegas 8.1 (looking to learn Premiere so I don't need this anymore - Cold Boot : 8 seconds, Warm Boot : 3 seconds)
After Effects (Cold Boot : 22 seconds, Warm Boot : 8 seconds)
Premiere (Cold Boot : 48 seconds, Warm Boot : 16 seconds)
Premiere seems to be a beast of a program; I'm rather surprised, I thought AE would be the more intense one. Sorry, I haven't yet overcome my fears of losing projects/data because I'm running on a Windows machine.
It's half the reason why I have a Mozy account to backup my files to an online resource.

Best workflow between Premiere and Encore for subtitling...

Hello All,
I switched from FCP and DVDS Pro to Premiere and Encore but having trouble to get the same workflow for the type of work we do here,
We deal with lots of foreign films that will be distributed on DVDs and streamed via places like Xbox, PSN and such.
We tried by starting by laying the final edit of the film in Premiere and placing subs. We found out that there was no easy way to export the video track as an stl or compatible format so we outputted the film and used subrip to create an srt which worked ok when we brought it over to DVDSP but subrip always generates lots of bad text which has to be manually fixed. I than decided lets try Encore cause it must be more compatible with Premiere for transferring info between the two but have not found a good way to do this yet.
What would be the best work flow between the two programs so you can create a DVD with subs and also have movie with a sub track that can be outputted for VOD besides having to do the work twice? I am sure many production houses have this need.
Thank you all for reading and look forward to some ideas. We are using CS6.
-john

To the best of my knowledge, you will have to use a non-Adobe app for creating the subtitle file. Once created, you'd bring that into Encore for disk creation. I'm not sure you can create a file for VOD with subtitles using Adobe tools. Encore can create Flash output, but that's probably not the best choice here.

Colour difference between color and FCP

i have edited in FCP doing no colour correction at all then i have sent it to color using the
file send to color option
done my colour correction and sent it back using the
send to final cut pro option
no i am really happy with the colours in color using pri in, sec in, colorFX and pri out, rendered it all but when i send it back to FCP everything is redder well pinkish then what it looks like in color
am i doing something wrong at all
i have tried to adjust the amount of red in color then render and send back but it still looks the same.
im lost can anyone please help
adam

Yes, you are doing something incredibly wrong. This non-issue is rearing it's ugly head so much it's nauseating. What you are seeing is the display differences between Color and Final Cut Pro. Do a search on all the Color forums and you'll find a host of very similar threads to yours.
The solution is to use a real input/output device like an Aja Kona or Blackmagic Decklink card and send the video signal to a production monitor. Those of us using this infrastructure see none of this non-issue that other users who are relying upon their highly inaccurate computer displays are seeing.
You are at a disadvantage however as there is currently no accurate way to get external monitoring capabilities out of an iMac as it is woefully lacking in expansion capabilities.

Best way to work between Motion and FCP

I use Motion on occasion but always seem to run into a problem when I export projects to .mov files and import into FCP as the same. The files always show up in FCP but if I return back to Motion to edit the Motion Project I get an alert that say that file is in use. Should I just import the whole .motn file into and FCP and render after or is there a better way? Any ideas would be helpful.

Hi Buck,
if you export your motion project as a mov file you create an independent file with properties selected prior export. That file becomes independent from all applications and will remain even if you delete the project it originated from. On the contrary, if you import a Motion Project into FCP it will always depend on and reference its native editor.
If you are using a previously exported mov file within both Motion (say you re-imported it, apply changes and try to save it with same name) and FCP at the same time then you may get the warning that the file is in use.
Any change you make in Motion to your .motn project should update within FCP timeline instantly.
Luca

PROBLEM EDITING AUDIO BETWEEN PREMIERE CS4 AND AU OR SB

I have a problem editing my audio files in audition or soundboth, when I return to premiere after have edited the file in AU or SB, I can't see the wave in premiere but I can hear the audio.
I have to rebote premiere to see the wave.
What could be happening?
could you help me, please?
Excuse me for my english, I speak spanish.

What are your exact steps to edit in SB or AU? Do you first Rt-click on the Audio Clip and choose Edit in SoundBooth (or Audition)? Do you Render and Replace (basically what happens with the previous method), and then Open that resulting file in SB, or AU?
From SB, or AU, how do you Save your file - exact steps please?
Good luck,
Hunt

Editing footage from DVD in FCP

Forum,
Here's my issue. A client has a 2 hour presentation on DVD, which they want to edit down to a 90 minute piece. This shorter piece will end up being on a looping DVD. The footage on the original DVD is 16x9 and they want to keep it that way for use on large widescreen monitors. What is the easiest way to get the footage into FCP? The clips to capture will be long, about 30 minutes, do I capture it playing from a DVD player? Do I use a "DVD Ripper"? I have no experience using that type of software.
Help is appreciated.

MPEG Streamclip is what you need to convert the client's DVD to an editable format. The problem is that the video on DVDs is very highly compressed. If you take it, edit it and then recompress it back to a DVD there will be a noticeable loss in quality. Talk to your client and get an uncompressed version of their video (not a DVD).

Z1 viewfinder colors don't match captured footage on TV and FCP

Hi.
I shoot underwater on a Sony Z1 and white balance using the viewfinder to what seems a satisfactory result. However, once captured, the colors of the footage on both the Z1's LCD and its viewfinder simply do not look like the colors in FCP or on any monitor (neither broadcast monitor, nor regular TV).
This is especially exasperating on days when the water has a greenish tint. When I white balance to make it more blue, it does appear blue in the viewfinder while shooting, but then turns out as green on tape (like it actually is).
I'm not able to shoot colors properly if I can't rely on what the viewfinder shows me. We've checked the Z1 manual and tried all sorts of things (color extract etc), but the only thing one seems to be able to do about viewfinder colors is adjust saturation and brightness. Not hue or such. Anyone know details about Z1 color settings?
Or could this have to do with the capture settings? I shoot 1080i50 and use the same HDV-1080i50 Easy Setup in FCP.
We want to avoid color correcting the HDV material too much in post, so I'm trying to get the best result whilst shooting.
Any ideas gratefully appreciated.

I think Zeb means match the image on the LCD to that on the monitor.
However, remember that underwater you have two issues to contend with: the LCD image has to pass through your underwater camera housing, through water and your mask before you see it. All that affects colour.
Seconds, more importantly, the deeper you go, the further towards the blue end of the spectrum your ambient light shifts. You need to white balance regularly, not just once. When you change depth, when lighting conditions change etc.
Take a look here: http://www.kenstone.net/fcphomepage/white_cardsdouglas.html
Useful info on Warm White cards.
And here:
http://www.timsaxon.co.uk/Uwvideo.html
For filter info.
Basically, ignore your LCD as a reference for colour and make sure you white balance regularly. Whatever setup you do on the surface will change the moment you're in the water.
Edit: Also, to make life easy, consider topping each shot with an underwater reference chart and correct to that in post:
http://www.bhphotovideo.com/bnh/controller/home?A=details&Q=&is=REG&O=productlis t&sku=330876

Connection errors (lots and lots of them) between HDV and FCP 6

So this is a tragedy for me so far. I have a $3500 Cannon XH A1, and an equally expensive Macbook Pro. The problem is, I can't get a connection via firewire between the two. I've changed the presets a bunch of times to what I think the correct specs are, nothing has worked. But when I flip on the the right settings on my school's computers (which run FCP 5), it works fine.
I'm out of ideas. I've updated everything, I even tried this pointless apple tutorial telling me to delete QT receipts. Can anyone help me?

Well, it might take a bit of time to straighten out, but probably not a tragedy.
First, was your move to 10.5.1 a clean install? If you just installed over the old OS, problems can arise. Worst case scenario is you'll have to strip the drive, reinstall the OS and updates, then install FCS 2 and the updates.
But, some things to try first:
Shut everything, computer, camera, etc. off
Connect the camera to the mac via firewire, and remove any other firewire connections, even if the other connected equipment will be off (unless, of course, you'll be capturing to an external firewire drive).
Turn the camera on to VCR mode, load the tape. (I'm assuming you want to capture TO FCP, not print back to video.
Now turn on the Mac, fire up FCP. If any projects open with it, close them.
Now, choose an Easy Setup; probably HDV 1080i60, or another HDV preset.
Next, open a new empty project, and open the log and capture window.
Are you now able to control the camera from the keyboard? And, are you able to see your footage in the log and capture window? If so, proceed with the capture.
If this doesn't work, you may want to erase and reinstall everything on a clean drive.

Organizer links between Premiere and Photoshop Elements 7.0

Has anyone experienced that Organizer in Premiere is using the data in the Organizer of Photoshop Elements? I loaded over 15,000 photos in PSE and now they are showing up in Premiere where I don't want them and it is really gumming it up. Very Slow and with memory issues. Called Adobe and after the tech researched it he said the two programs are linked and there wasn't anything I could do about that and suggested I not use the Organizer, just go straight to Edit and New Project. Anyone had problems from this lame Adobe programming?

Has anyone experienced that Organizer in Premiere is using the data in the Organizer of Photoshop Elements? I loaded over 15,000 photos in PSE and now they are showing up in Premiere where I don't want them and it is really gumming it up. Very Slow and with memory issues. Called Adobe and after the tech researched it he said the two programs are linked and there wasn't anything I could do about that and suggested I not use the Organizer, just go straight to Edit and New Project. Anyone had problems from this lame Adobe programming?
I have a well maintained computer and I saw the same slugishness with the Organizer.
I always use a different catalog in PRE than I do in PSE.
You will need to create a new catalog in the PSE Organizer. Then when you open PRE, from the file menu you can choose to select a differnet catalog. Find the one you just created. PRE will need to restart and when it does you will have a blank organizer, which will get filed as you add media.

Frame count differs between Premiere and AE

Hello,
I rendered a PNG Sequence in AE that put out 10,299 images (frames).
However, when I import that to Premiere, the sequence is only 8,591 frames long.
The AE project was 720p and 25 FPS, and the Premiere sequence settings are the same.
As far as I can tell, the entire render does play in Premiere; it just plays quicker...almost like it's actually in 30 FPS or something.
And considering 8,591/10,299 is nearly the same ratio as 25/30, I'm guessing this is the case.
So the question becomes, why is Premiere behaving like 30 FPS when its settings (below) are set to 25 FPS like the original AE project?

Rick Gerard wrote:
Check the file interpretation settings in premier. Your footage is obviously being interpreted at 30 frames per second, that doesn't surprise me because premier defaults to 30 frames per second for image sequences.
Thanks as always, Rick! I was able to change the interpretation settings of the imported sequence from 29.997 to 25, and it functions as expected now.
I hope they pay you for your great forum work.

Color discrepancy with imported PSD between Motion and FCP

I've got a Motion project with an imported PSD file as a background element (the PSD was created in Photoshop CS2 for Windows, running under Parallels).
The PSD file consists of two overlapping curved shapes, one blue, one green (part of our corporate look). The colors (RGB) match our official guidelines.
I imported the Motion project to FCP and placed it on the timeline, on V1. In FCP, I then used a color generator to create a small blue rectangle which would serve as a border for a slightly smaller thumbnail image that would get overlaid later on. The rectangle is on V2. I used the exact same RGB values for it as I did in Photoshop for the curved shape.
Trouble is, the blue color in the shape that got imported into FCP inside the Motion project doesn't match the generated color.
See this screenshot, in FCP:
http://elamaton.no-ip.com/~jarkko/colordiscrepancymotion.png
Three blues: leftmost, the color generator resized to a small rectangle; on the center, the shape that I created in Photoshop and imported into a Motion project, dropped into FCP; rightmost, an instance of Photoshop CS2 running in a virtual WinXP in Parallels Desktop. You'll notice that the blues of the generator and Photoshop match, but the middle shape that travelled the CS2->Motion->FCP route is a different shade.
Narrowing it down further, I decided to import the PSD file directly into FCP (just to see if it'd match - it needs to go through Motion for the final product). Here's a screengrab of Canvas this time:
http://elamaton.no-ip.com/~jarkko/colordiscrepancy_motion2.png
Again, from left to right: the generated rectangle, the directly imported PSD, the PSD in the imported Motion project. The first two match, but something in Motion or the Photoshop->Motion route screws up the colors of the blue-green shape (as well as the Työterveyslaitos logo on the top left, also a PSD, in the same Motion project). The blue shade is also incorrect in the Motion canvas, pre-import to FCP.
What's going on here, and how can I fix things?
The project settings are PAL DV in both FCP and Motion. No rendering has been done, I'm importing the .motn into FCP as-is.
Any help is greatly appreciated, deadlines loom...

First, double-check that your PSD is in RGB, but I suspect it it or it wouldn't even work in FCP. I suspect a gamma issue moving between the apps:
http://docs.info.apple.com/article.html?artnum=93794
You might try setting the colorspace in FCP to RGB or adding a gamma filter in Motion to adjust.
Mark

Font size problems between Motion and FCP

I created a custom Final Cut Pro title in Motion. I set the font size to 110 pixels. My custom title works great, with one exception. The 110 pixel font in my custom title doesn't match the size of 110 pixel fonts in other titles. I double checked the font specs between the two titles, and they are identical. But, the font in my custom title is much bigger (view screen shot). How do I fix this?

Hi Jim,
I found the problem. When I right click a text template in FCP and select "open in Motion", the template dimensions are 1920p X 1080p. My original custom templates were 1280p X 720p. So, I didn't realize I was toggling between different template sizes.
Thanks for you input though.

Editing Footage between Premiere and FCP

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