Explore topic-wise InterviewSolutions in Current Affairs.

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.

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.

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.

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.

Riding the LEVELS usually means 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.

Riding the levels usually means 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.

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.

That’s REALLY a matter of opinion and my opinion is that Premiere Pro CS6 can replace FCP7 in an editor’s toolbox but there are differences for sure. I feel FCP7 is still BETTER suited for music videos since it SUPPORTS both auxiliary timecode as well as easy switching/changing/stepping through a multiclip in the timeline. For another editor’s opinion on what PPro might be missing check out My Adobe Premiere Wishlist from the EDIT Doctor.

That’s really a matter of opinion and my opinion is that Premiere Pro CS6 can replace FCP7 in an editor’s toolbox but there are differences for sure. I feel FCP7 is still better suited for music videos since it supports both auxiliary timecode as well as easy switching/changing/stepping through a multiclip in the timeline. For another editor’s opinion on what PPro might be missing check out My Adobe Premiere Wishlist from the Edit Doctor.

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.

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.

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.

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.

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.

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.

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.

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.

Unfortunately Premiere Pro CS6 doesn’t have through-edit (or match frame edit) indicators when you ADD an edit in a CLIP. That would make for a great feature request, like a LOT of things in this post.

Unfortunately Premiere Pro CS6 doesn’t have through-edit (or match frame edit) indicators when you add an edit in a clip. That would make for a great feature request, like a lot of things in this post.

When you hit command + M to export you can choose to queue exports in Adobe Media Encoder for later OUTPUTTING. AME pauses when you GO back to work in PPro on a SEQUENCE in AME so I OFTEN queue up a few exports during LUNCH or for an overnight export.

When you hit command + M to export you can choose to queue exports in Adobe Media Encoder for later outputting. AME pauses when you go back to work in PPro on a sequence in AME so I often queue up a few exports during lunch or for an overnight export.

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.

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.

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.

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.

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 FCP7. Who knows when this might happen (it COULD be years) but IMHO it’s worth starting to make a transition plan from FCP7 be it to Premiere Pro CS6, Avid Media Composer or Final Cut Pro X.

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 FCP7. Who knows when this might happen (it could be years) but IMHO it’s worth starting to make a transition plan from FCP7 be it to Premiere Pro CS6, Avid Media Composer or Final Cut Pro X.

I think it’s well work investing in CS6. 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 CS5. 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.

I think it’s well work investing in CS6. 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 CS5. 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.

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.

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.

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.

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.

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/Transcode function like FCP7 or AVID Media COMPOSER has.

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/Transcode function like FCP7 or Avid Media Composer has.

I haven’t found one and a read through the Adjusting volume levels of the PPro help doesn’t reveal this feature EITHER. Too bad as it WOULD be great to adjust clip volume levels via keyboard commands.

UPDATE: Andy EDWARDS had a great IDEA on Twitter that you could just map PPro’s Audio Gain to cmd+opt+L to get a similar control in PPro CS6. That’s a great idea, one that I have already done on my keyboard mapping. I MISREAD that to think we were looking for some keyboard command that could change the levels of a clip on the fly which you can’t do in PPro.

I haven’t found one and a read through the Adjusting volume levels of the PPro help doesn’t reveal this feature either. Too bad as it would be great to adjust clip volume levels via keyboard commands.

UPDATE: Andy Edwards had a great idea on Twitter that you could just map PPro’s Audio Gain to cmd+opt+L to get a similar control in PPro CS6. That’s a great idea, one that I have already done on my keyboard mapping. I misread that to think we were looking for some keyboard command that could change the levels of a clip on the fly which you can’t do in PPro.

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. 

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. 

No. There’s no way to selectively remove a single filter from more than ONE clip at a time. You can delete a single filter at a time in the Effect CONTROLS tab but that would be one clip at a time. The Remove EFFECTS option LETS you remove effects from more than one clip but it removes them all.

No. There’s no way to selectively remove a single filter from more than one clip at a time. You can delete a single filter at a time in the Effect Controls tab but that would be one clip at a time. The Remove Effects option lets you remove effects from more than one clip but it removes them all.

If you click a transition will open in the effect editor and let you edit the transition there. When changing the DURATION by typing a number in the effect editor it will symmetrically change the transition on both sides.

But if you want to just click and DRAG in a TIMELINE to symmetrically change the transition answer is no it only changes one-sided TIME when you click and drag. It WOULD also be nice if it told you the new transition lenght.

If you click a transition will open in the effect editor and let you edit the transition there. When changing the duration by typing a number in the effect editor it will symmetrically change the transition on both sides.

But if you want to just click and drag in a timeline to symmetrically change the transition answer is no it only changes one-sided time when you click and drag. It would also be nice if it told you the new transition lenght.

No, looping does not have to be on as don’t stop playback is it working all the time. I tend to use it a LOT as it’s an EASY way to adjust parameters for EFFECTS and see the results in real time without playback stopping.

No, looping does not have to be on as don’t stop playback is it working all the time. I tend to use it a lot as it’s an easy way to adjust parameters for effects and see the results in real time without playback stopping.

This is strange behavior that I haven’t seen on two different Premiere Pro CS6 INSTALLS. TRY the Preference MANAGER from Digital Rebellion to trash the PREFERENCES. That’s good maintenance that can often help with weird issues.

This is strange behavior that I haven’t seen on two different Premiere Pro CS6 installs. Try the Preference Manager from Digital Rebellion to trash the preferences. That’s good maintenance that can often help with weird issues.

Premiere Pro CS6 is much more KEYBOARD friendly than past versions. I’m still working on EXACTLY how much I can and can’t do via the keyboard. It takes time to learn all the shortcuts as well as remap them to my liking. My advice would be to really dig through the Keyboard Shortcuts and look for those SPECIFIC THINGS you want to do via the keyboard. There’s a LOT in there.

Premiere Pro CS6 is much more keyboard friendly than past versions. I’m still working on exactly how much I can and can’t do via the keyboard. It takes time to learn all the shortcuts as well as remap them to my liking. My advice would be to really dig through the Keyboard Shortcuts and look for those specific things you want to do via the keyboard. There’s a lot in there.

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.

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.

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.

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.

I THINK it’s the new trimming capabilities that is in version 6. 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.

I think it’s the new trimming capabilities that is in version 6. 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 you can use a second MONITOR with PREMIERE Pro. All window layouts can be adjusted at will and saved to NEW TEMPLATES.

Yes you can use a second monitor with Premiere Pro. All window layouts can be adjusted at will and saved to new templates.

Adobe’s speech analysis technology is different than Avid’s phrase fine. Adobe actually makes an attempt to transcribe dialogue into human readable text that is attached to its file via metadata. It’s FAR from perfect but it has gotten BETTER version to version and is somewhat usable.

PhraseFind is a dialogue search tool that allows you to search for SPECIFIC words and phrases and locate them within a clip. The software analyzes the media and it works via phonetics so it does not give you a readable transcript once the media has been ANALYZED.

It’s very handy especially on documentary or interview types of projects. If I could choose only one I would choose to have a PhraseFind like technology as opposed to the transcription technology at this point because the transcribing isn’t perfect. And the worst your audio is the less accurate the transcriptions will be.

Adobe’s transcription can be a great STARTING point though if you have to make transcriptions and you have decent audio. If you want something like PhraseFind in PPro try Boris Soundbite.

Adobe’s speech analysis technology is different than Avid’s phrase fine. Adobe actually makes an attempt to transcribe dialogue into human readable text that is attached to its file via metadata. It’s far from perfect but it has gotten better version to version and is somewhat usable.

PhraseFind is a dialogue search tool that allows you to search for specific words and phrases and locate them within a clip. The software analyzes the media and it works via phonetics so it does not give you a readable transcript once the media has been analyzed.

It’s very handy especially on documentary or interview types of projects. If I could choose only one I would choose to have a PhraseFind like technology as opposed to the transcription technology at this point because the transcribing isn’t perfect. And the worst your audio is the less accurate the transcriptions will be.

Adobe’s transcription can be a great starting point though if you have to make transcriptions and you have decent audio. If you want something like PhraseFind in PPro try Boris Soundbite.

No, the RENAME file to MATCH clip and rename clip to match file is functionality that is not included in Premiere PRO CS6.

No, the rename file to match clip and rename clip to match file is functionality that is not included in Premiere Pro CS6.

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 Transmit; 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.

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 Transmit; 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.

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.

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 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.

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.

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 TRANSCODING 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.

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 transcoding 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.

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 transcode. 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.

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 transcode. 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.

That’s not my experience in CS6. 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.

That’s not my experience in CS6. 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.

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.

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.

For graphics, compositing or effects heavy TYPES of edits I’ve always leaned more TOWARD Final Cut Pro and Final Cut Studio. I liked the way FCP handles graphics and the Studio apps are great compliments. Adobe Premiere Pro and the Production PREMIUM CS6 bundle is taking the PLACE as the Adobe products handle graphics and media in much the same way.

Avid Media Composer is usually my choice for music videos and concerts when I know I need auxiliary timecode and grouping (in the case of music videos) or multicam grouping (in the case of concerts). For more cuts and dissolve based edits with clients in the room I’ll often use Media Composer as I FIND its keyboard use and trimming faster than the other NLEs. If I know an edit has to go to color grading via our Baselight I’ll often choose Media Composer as well since it has a very solid workflow with the Baselight.

For graphics, compositing or effects heavy types of edits I’ve always leaned more toward Final Cut Pro and Final Cut Studio. I liked the way FCP handles graphics and the Studio apps are great compliments. Adobe Premiere Pro and the Production Premium CS6 bundle is taking the place as the Adobe products handle graphics and media in much the same way.

Avid Media Composer is usually my choice for music videos and concerts when I know I need auxiliary timecode and grouping (in the case of music videos) or multicam grouping (in the case of concerts). For more cuts and dissolve based edits with clients in the room I’ll often use Media Composer as I find its keyboard use and trimming faster than the other NLEs. If I know an edit has to go to color grading via our Baselight I’ll often choose Media Composer as well since it has a very solid workflow with the Baselight.

You can only OPEN one project at a time in Premiere Pro CS6. PPRO has always acted in this manner. It does trip up Final Cut Pro editors often as it’s a common practice to have more than one project open at a time. Check out question number 2 for a good method to import SELECT sequence from one project to another. Otherwise you can copy and paste elements between projects.

You can only open one project at a time in Premiere Pro CS6. PPro has always acted in this manner. It does trip up Final Cut Pro editors often as it’s a common practice to have more than one project open at a time. Check out question number 2 for a good method to import select sequence from one project to another. Otherwise you can copy and paste elements between projects.

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 H264. 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.

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 H264. 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.

I haven’t experienced any drift at all but all my SOURCES have been matching formats: resolution and especially frame rate. My first QUESTION would be just that: do all your formats match? Having PPro PERFORM a realtime frame rate conversion on one CLIP might cause it to drift. The other thing to look at is drive speed as slower hard drives might drift over time if it’s having trouble keeping up with performance.

I haven’t experienced any drift at all but all my sources have been matching formats: resolution and especially frame rate. My first question would be just that: do all your formats match? Having PPro perform a realtime frame rate conversion on one clip might cause it to drift. The other thing to look at is drive speed as slower hard drives might drift over time if it’s having trouble keeping up with performance.

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.

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’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.

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.

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.

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.

The version 5 version 6 upgrade is well WORTH it in my opinion. First of all the NEW interface is much LESS cluttered and much more pleasant to work with. They’re GREAT new features like Hover Scrub as well as the Mercury transmit technology which WORKS much better with third-party video cards and other versions of Premiere. It was an easy decision for me when I use the new version to move from the older version 5 that I was using before.

The version 5 version 6 upgrade is well worth it in my opinion. First of all the new interface is much less cluttered and much more pleasant to work with. They’re great new features like Hover Scrub as well as the Mercury transmit technology which works much better with third-party video cards and other versions of Premiere. It was an easy decision for me when I use the new version to move from the older version 5 that I was using before.

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.

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.

I don’t exactly understand the question but I don’t see why you WOULD not want to transfer 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 transitions in certain effects will come across intact. Not everything will translate 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.

I don’t exactly understand the question but I don’t see why you would not want to transfer 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 transitions in certain effects will come across intact. Not everything will translate 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.

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.

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.

Premiere Pro CS6 introduced Mercury Transmit 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.

Premiere Pro CS6 introduced Mercury Transmit 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.