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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 answer 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 answer you were looking for.

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 answer 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 answer you were looking for.

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.

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.

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.

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 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.

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.

The “don’t stop PLAYBACK” feature isn’t an actual preference that can be turned on and off. It just works that way as you are playing back in PREMIERE PRO. Playback will continue when you’re doing MANY different types of operations such as trimming, adding effects, key framing effects or even doing actual editing in the TIMELINE.

Ironically playback will stop if you just click to a different place in the timeline timecode ruler. One would think that playback would continue but in this particular version it actually stops.

The “don’t stop playback” feature isn’t an actual preference that can be turned on and off. It just works that way as you are playing back in Premiere Pro. Playback will continue when you’re doing many different types of operations such as trimming, adding effects, key framing effects or even doing actual editing in the timeline.

Ironically playback will stop if you just click to a different place in the timeline timecode ruler. One would think that playback would continue but in this particular version it actually stops.

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 CS6. 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.

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 CS6. 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.

It is but it works differently, and is a BIT confusing IMHO.

If you have clips “HARD” selected directly with the MOUSE then you can use the Delete key to do what PPro calls Clear SELECTION. For a Ripple Delete hit Option+delete to delete the items and close the gap if that operation is possible.

If you want to use the Lift(;) or Extract(’) option then you have to use IN to OUT marks to define the range you want to Lift or Extract.

I find this approach overly confusing myself.

It is but it works differently, and is a bit confusing IMHO.

If you have clips “hard” selected directly with the mouse then you can use the Delete key to do what PPro calls Clear Selection. For a Ripple Delete hit Option+delete to delete the items and close the gap if that operation is possible.

If you want to use the Lift(;) or Extract(’) option then you have to use IN to OUT marks to define the range you want to Lift or Extract.

I find this approach overly confusing myself.

I think that’s more a matter of personal preference if you are a very keyboard driven editor or not. I started with the Avid Media Composer set since my FCPs are more of an Avid/FCP hybrid. If you’re very fast on the default FCP keyboard setup then starting with the Final Cut PRO 7.0 setting is probably wise. If you’re a mouse-driven editor I’d option for the ADOBE Premiere Pro CS 6.0 keyboard mapping.

No matter what your keyboard starting point is work hard to learn keyboard shortcuts as that MAKES for much faster editing. Better still map they keys to your own preferences because only you know exactly what you can do to edit fast. Read the Keyboard Manifesto for more info on how I FEEL about keyboard editing and keyboard shortcuts.

I think that’s more a matter of personal preference if you are a very keyboard driven editor or not. I started with the Avid Media Composer set since my FCPs are more of an Avid/FCP hybrid. If you’re very fast on the default FCP keyboard setup then starting with the Final Cut Pro 7.0 setting is probably wise. If you’re a mouse-driven editor I’d option for the Adobe Premiere Pro CS 6.0 keyboard mapping.

No matter what your keyboard starting point is work hard to learn keyboard shortcuts as that makes for much faster editing. Better still map they keys to your own preferences because only you know exactly what you can do to edit fast. Read the Keyboard Manifesto for more info on how I feel about keyboard editing and keyboard shortcuts.

Premiere is a track based audio editor which means 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.

Premiere is a track based audio editor which means 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.

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.

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.

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.

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.

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.

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.

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.

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.

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 TRANSLATION but it’s actually quite easy process.

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 translation but it’s actually quite easy process.