Continuing Tales of an FCP Switcher

Biscardi Creative Blog by Walter Biscardi

Getting Caught Up on our Series

As mentioned at the end of the original article, we moved our PBS series over the Adobe Premiere Pro CS6 with the reasoning that if we had to flatten a file at the end of the editing process, we’d might as well use the NLE that offers the most native format support. So far, that has absolutely proven to be true and I’m proud to say that my editing team has caught up on our production schedule. Primarily because the software is just so doggone fast our guys are able to jump right into the edit.

Now the emphasis is on our editors to manage all the data, the software really doesn’t do any sort of media management. We stringently follow the guidelines set in “An Editor’s Guide to Adobe Premiere Pro” for managing the data. Essentially we put all the media in place on our SAN before it’s imported to the project. Once a project is completed, we literally have one folder to archive that contains everything needed to bring the project back.

So as far as the editing is concerned, the team is very happy with how Premiere Pro is performing, even our main Avid editor is loving the new CS6 interface and trim tools. We’re also finding significant improvements in render time of CS6 compared to CS5.5.

Spotty EDLs

As noted in the original article, Premiere Pro does not have any way to perform a Consolidate / Transcode function taking all of the native material and conforming all the footage to a single codec. The workflow of sending a flattened Quicktime File to Resolve along with an EDL has resulted in spotty performance from Premiere Pro CS6. Sometimes the EDL imports as expected and the file Pre-Conforms in Resolve and other times Resolve crashes when we try to access the EDL. Conferring with BlackMagic Design, they have discovered errors in the EDLs that are causing the crashes. I’ve sent the troubled EDLs to Adobe for review and we’ll see what they find. read more...

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