Digital Rebellion Adobe Blog Category

How to import sequences into Premiere Pro from XML without duplicating media

Wed, 14 Dec 2016 07:34:57 +0000

Premiere Pro stores metadata that helps it determine which files exist in a project, however when roundtripping via XML through a non-Adobe app this metadata can get lost, resulting in Premiere duplicating all of the existing media in the project upon import.

Here's how to prevent that:

Create a new, temporary Premiere project. Because Premiere can only open one project at once, your current project will close.
Import the XML file into the temporary project and save it. Relink any files that need it.
Reopen your main project.
Click the Media Browser tab at the bottom left and browse to the location of the temporary project on your hard drive.Â Select it and after Dynamic Link has loaded, the contents of the temporary project will appear in the Media Browser.
Navigate to your imported sequence and double-click it to load it in the Source Monitor in the top left.
Drag the video from the Source Monitor into your project / bin to import it into the project. Premiere may reimport certain things like titles but your media files will not be duplicated.

OS X 10.11.6 causing kernel panics with NVIDIA cards and Adobe CC

Fri, 29 Jul 2016 03:13:48 +0000

The most recent OS X update, 10.11.6, appears to be causing instability for users of NVIDIA graphics cards and Adobe Creative Cloud.

Upon launching Premiere or After Effects, the system will kernel panic, which may either freeze the computer and show an error on the screen or automatically reboot. Kernel panics are almost always related to hardware or drivers and in this case it seems to only affect NVIDIA cards running on certain models of Mac Pro. While NVIDIA does offer Mac drivers separately, those drivers do not appear to solve the issue.

Adobe has successfully reproduced the issue and says it is due to a conflict with Apple's Metal graphics API, which Adobe apps are making use of for the first time in the 2015.3 release. They are planning to disable Metal in the next update until Apple and NVIDIA can fix the issues, but in the meantime you can either downgrade to OS X 10.11.5 if you have a backup or use Adobe Creative Cloud 2015.2 if you didn't delete it when you upgraded.

Alternatively, you can delete the Metal folder from each Adobe app bundle to disable Metal support yourself before the official update comes out. First backup each app, then right-click and choose Show Package Contents. Then navigate to Contents/PTX inside each app and delete the Metal folder in that directory.

This is a slightly dangerous way of fixing it but it appears to have worked for those who experienced the issue and may be the best way of solving it until Adobe releases the update.

Understanding render options in Adobe Premiere Pro

Mon, 12 Jan 2015 19:10:42 +0000

Adobe Premiere Pro's export dialog features several rendering options that are not widely understood. All of them are switched off by default because they either degrade quality or increase rendering times, however they can all be useful in particular situations.

Render at Maximum Depth

This renders content at 32-bit color depth. Very few output formats actually support 32-bit color but processing at this depth can produce better quality for compositing and effects operations before being scaled back to the output format's bit depth. It can reduce or eliminate artifacts and banding in your video but that benefit comes at the cost of an increase in processing time, so only use it when completely necessary.

You may benefit from this option in the following situations:

Your source media has a higher bit depth than the format you are outputting to
Your sequence contains heavy compositing or lots of layered effects (particularly 32-bit color effects)
Your sequence contains very high contrast or very low contrast images (for example subtle gradients)

You can read more about Premiere's color processing here.

Maximum Render Quality

This is a high-quality resize operation that should be used when outputting to a different frame size from your sequence. It can reduce aliasing (jagged edges) when resizing images but is of no use when outputting to the same frame size. This operation significantly increases render times so only use it when resizing.

Frame Blending

This option smooths out juddery motion when exporting to a different frame rate than your sequence. While it may improve motion quality compared to not having it switched on, it's not considered a high quality option. You will probably get better results from exporting with the sequence frame rate and then converting in Adobe Media Encoder, Apple Compressor, a standards-conversion tool like JES Deinterlacer or a hardware conversion device like Teranex.

Use Previews

This results in reduced export times because your sequence render files are used instead of having to re-render the sequence. This is of course assuming that you have a significant amount of your timeline already rendered, which may not be the case if you have a fast computer or your sequence is simple enough to be played back without rendering.

Generally you should not use this option because it is likely to result in reduced image quality, particularly when outputting to a different format from your sequence and also because it will bypass the quality options detailed above. It should only be used where processing time is more important than image quality, such as previews or rough cuts for example, although these are likely to be simple enough that this option doesn't significantly affect processing times.

Adobe Creative Cloud compatibility with Digital Rebellion products

Tue, 18 Jun 2013 16:45:10 +0000

Today Adobe launched Adobe Creative Cloud, with many new features for Premiere Pro and other apps in the suite. We've been playing about with it for a while and our apps are largely compatible (also due to our recent policy of trying to make our tools as app-agnostic as possible).

Here is a list of useful information you need to know when using our products with the new version.

Cut Notes

Cut Notes works a lot better with Premiere Pro CC and it is our preferred version of Premiere to use with the app. It does not require a plugin and you also gain remote playback capabilities from the iPad.

You can read a guide to setting it up here.

Preference Manager

Preference Manager is not compatible with the Creative Cloud apps but we have an update in the works that will support them along with some new features too. This is being targeted for release within the next few weeks.

Plugin Manager

Plugin Manager does not display plugins for Adobe CC apps. This will be addressed in the next update.

Post Haste

Post Haste does not have blank Premiere Pro CC project file templates but is otherwise compatible.

Any app we haven't listed works the same with the new version as it did before.

Syncing Cut Notes to Adobe Premiere CC

Tue, 18 Jun 2013 16:31:07 +0000

Adobe Premiere Pro CC now supports control surfaces, allowing us to significantly improve integration with Cut Notes. Plugins are no longer needed (although we will keep the plugin on our site for CS 6 users) and you can now control playback directly from the iPad.

Here's how to set it up:

1. Launch Audio MIDI Setup (in /Applications/Utilities) and double-click Network to open the MIDI Network Setup window (you may need to go to Window > Show MIDI Window first to see this).

2. Under My Sessions, click the + button and name your new session Cut Notes.

3. In Cut Notes, setup your project and then tap the cut to go to the note-taking view. Tap the sync button next to the timecode and choose MIDI.

4. The iPad will now appear in the Directory section of the MIDI Network Setup window. Select it and click Connect. (Make sure the rest of the options look like the screenshot too.)

5. In Premiere CC, go to Premiere Pro > Preferences > Control Surfaces. Click Add, then select Mackie.

6. Click Settings, select Mackie Control and click Edit (or Add if the window is empty). Then set Device Type to Mackie Control and the MIDI input and output devices to Network Cut Notes.

7. Close preferences and scrub or play your timeline. The timecode should appear in the Cut Notes window and you should be able to control playback with the buttons on the device.

5 hidden features in Adobe Premiere CS6

Mon, 27 May 2013 19:33:42 +0000

Adobe Premiere Pro has a little-known Console window that provides access to hidden functions. To access it, press Cmd+F12 on the Mac or Ctrl+F12 on the PC. You may have to also hold down Fn on a laptop.

A blank window will appear. Click the dropdown button in the top right and select Debug Database View.

A list of various hidden options will appear. Here are five useful things you can do with it.

Enable the Time Warp filter

Adobe disabled the Time Warp filter in CS5 and subsequent versions. If you still want to use it, change TimeWarpFilterEnabled to true then relaunch Premiere.

Suppress peak file generation

Peak files allow Premiere to cache waveform information so that it doesn't need to be regenerated every time the project opens. However, these files take up space on disk and the peak file generation process can take time for certain formats. If you'd like to disable peak file generation, change SuppressPeakFileGeneration to true.

Display out of sync indicators

When you unlink video and audio and then adjust it, Premiere does not show that the clips are out of sync. You can enable that by setting TL.SupportsUnlikedSyncIndicators to true.

Note: this only appears to work on video clips that were imported with audio attached, rather than clips where the audio was manually linked.

Apply QuickTime gamma level

This respects the gamma level of the QuickTime movie as specified in its gama atom (you can add this in QT Edit). To switch it on, set QTUseSourceGammaLevel to true.

Hide Adobe Media Encoder presets

You can hide the list of AME presets that appear in the Export dialog by setting AME.EnablePresetDB to true (yes, this is counter-intuitive).

My thoughts on Adobe's new rental policy

Tue, 7 May 2013 18:44:24 +0000

You've most likely already heard about Adobe's move to get rid of Creative Suite and offer rental-only software from now on. When the announcement was made my Twitter feed exploded with both love and hate for the new policy.

While some of the negative points people made are purely hypothetical or FUD for its own sake, others are genuine concerns. There has also been a lot of misinformation flying around, in particular with regards to being connected to the internet. You do not need a constant connection - the software will connect once a month and you will have a grace period of 99 days (soon to be 180 - thanks Todd) if the connection is unsuccessful.

Another common misconception is that the apps will run off the cloud or that they will automatically update without your permission. The apps run locally on your system as they did before but the licensing is handled on the cloud, so instead of a product key you now use your email address. Software updates will not occur automatically without your permission and Adobe has said they will periodically create fixed archived copies of the applications so you can revert to a particular version if desired.

The cloud is cheaper for new users too, although it may end up being more expensive for some of Adobe's existing customers, especially if they often skip versions. Actually, that's not strictly accurate. It is cheaper at the currently announced prices, which brings me on to my own primary concern: cloud users are susceptible to future price rises and policy changes. What if the price rises? Tough luck, you have to pay it anyway. What if Adobe releases a new privacy policy that you don't want to agree to (see Facebook, Instagram)? If you ever want to access your projects again, you'll have to agree whether you like it or not. If you are planning on building your workflow around Adobe products, you have to be prepared to essentially pay Adobe every month for life, no matter the cost. Your project files are hostage to future Adobe pricing and policy changes.

I have no issues with the cloud or rental policies as concepts, my only objection is to being forced into them. It is difficult not to interpret this as a power grab.

Another thing Adobe may not have considered is that they have different traction in different markets. Photoshop is clearly the king of print and graphics, but Premiere has only started to gain traction since the demise of FCP 7. I know several people who were looking for FCP 8, thought they'd found it with Premiere CS Next and are now hesitating.

I have been fortunate to have access to pre-release versions of some of the new Adobe apps and the new Premiere is fantastic. The dev team has really listened and I try to use the new version over CS6 whenever I can. It's sad that instead of talking about the great new features, the whole Adobe MAX event was overshadowed by this decision from upper management.

The worst part is that in spite of all this I will still unhappily subscribe and so will many others. I am certain that this will end up being financially beneficial to Adobe, but it erases a certain amount of goodwill.

Fixing Adobe Encore project corruption

Thu, 25 Oct 2012 18:40:41 +0000

This past weekend I used Adobe Encore for the first time to create a Blu-ray for an important screening. I'd previously tested the workflow and everything had worked well, but this was my first time using it on a project.

I initially had some issues encoding the Premiere Pro sequence to H.264 because Adobe Media Encoder told me it would take 42 hours, and after leaving it for a few hours it seemed to be making good on that promise. I eventually narrowed the problem down to a corrupt Dynamic Link cache which I trashed with CS Repair and got the more respectable prediction of 10 hours (it was a 90 minute feature with 10-bit RGB source files).

I then used Compressor to create a 5.1 AC3 file and brought both into Encore. I created the menus and timelines and then used the Preview function to check it. It went well until about three quarters of the way through the movie one of the character's lines started repeating over and over and over again for about ten minutes.

I checked the original source files and they were fine. I checked the AC3 and it was fine. I restarted Encore and the problem was still there. I cleared the media cache from within the preferences menu; no change. I thought it might just be the preview but the problem existed on a test disc that I burned.

I eventually traced it to project corruption. There is a file in your project directory called ProjectMedia.acx. This is what the end of the file looked like:

The file should end with the closing XML tag </EncoreProject> (and there should only be one) but extra data has been added at the end. To fix this, close Encore, open up the file in TextEdit and delete everything beyond the first </EncoreProject> tag.

Then trash your media cache. For some reason the button in preferences doesn't remove everything so I'd recommend removing all files from the media cache directories at ~/Library/Application Support/Adobe/Common or by using Housekeeper.

I relaunched Encore, everything worked properly and I was able to create the disc and breathe a sigh of relief. I would definitely recommend keeping an eye on ProjectMedia.acx though because I just checked it again and more corruption has crept in.

Adobe Dynamic Link troubleshooting

Mon, 20 Aug 2012 16:54:14 +0000

Dynamic Link is a key selling point of the Adobe suite that many people rely on for their workflows. Here's what to do if it doesn't work as expected. This article is mainly aimed to dynamic linking between After Effects and Premiere but many of the suggestions will apply to the other applications in the suite.

Make sure your compositions have unique names

If you have multiple After Effects projects dynamically-linked in your timeline, Premiere can get confused if the same comp names exist in multiple projects. It's important to name your comps something unique rather than choosing the default "Comp 1" name.

Don't add trailing numbers

Adding trailing numbers to a filename such as "01" or "v02" can interfere with After Effects' Increment and Save function. This can result in the wrong project appearing in your Premiere timeline.

Check your firewall

Your firewall may be preventing the dynamic link process from communicating with the other applications. Make sure your firewall is set to allow all Adobe applications and also the dynamiclinkmanager application located at /Library/Application Support/Adobe/Common/dynamiclink/[CS suite version]/dynamiclinkmanager.

Disable simultaneous frame rendering

Dynamically linked projects do not support the Render Multiple Frames Simultaneously option. If you run into problems with it switched on, switch it off in the Memory and Multiprocessing tab of the preferences window in After Effects (it is off by default).

Clear caches and render files

If you find that the wrong project or composition is showing in your timeline, you may need to trash render files or your media cache in order to get it to display correctly. You can trash the render files by going to Sequence > Delete Render Files and the media cache by going to the Media tab in preferences or by using Pro Maintenance Tools.

Render as a movie file

If you still have problems after trying the steps above, render out the comp to a movie, import into Premiere Pro and replace the linked composition. This will of course remove the dynamic link and the advantages it offers, however you can right-click and choose Edit Original to relaunch the After Effects project if you need to re-render any changes.

Premiere Pro memory settings explained

Mon, 30 Jul 2012 17:42:47 +0000

In the Preferences dialog for Premiere Pro there is a section called Memory that allows you to specify how Premiere Pro and other Adobe applications will use your RAM.

Premiere will allow itself a certain percentage of memory by default and you can decrease this by increasing the RAM reserved for other applications and the operating system. This is a maximum limit and the memory is only used up if it is actually needed.

Premiere, After Effects, Encore, Prelude, Media Encoder and Photoshop all use the same memory pool so the RAM is assigned between them. Premiere and After Effects are assigned the highest priority within the pool so closing these applications can improve performance in the other apps.

Adobe applications are designed to share data in realtime through dynamic linking so it is common for users to run multiple apps at once. It is therefore recommended to set these settings as high as possible. The default is around 70-75% of total RAM. Note that it's possible for third-party plugins and importers to exceed the memory limit.

After Effects has a Details button in its Memory & Multiprocessing pane that for some reason the other applications don't have. If you click this button you can see which Adobe apps are running, how much memory they are using and what priority has been assigned to them. As you switch applications from foreground to background, watch the maximum allowed memory change as the priority is lowered.

If you install additional memory in your system and it is not reflected in the Memory dialog, close all Adobe apps and delete the file ~/Library/Preferences/Adobe/dynamiclinkmanager/6.0/memorybalancercs6v2.xml (or whatever version you are using). On Windows 7 the file is located at C:\Users\username\AppData\Roaming\Adobe\dynamiclinkmanager\6.0. When you relaunch Premiere the file will be recreated and it should see your new memory.

In the Memory pane you can also optimize rendering for performance or memory. In performance mode Premiere runs several tasks in parallel and uses all of your processor cores (up to 16). In memory mode it runs fewer tasks simultaneously so these settings will lower both CPU and memory usage.

Tips for optimizing memory usage

Close Adobe applications that are not in use
Turn off thumbnails and waveform displays
Reduce the size of large images
Optimize rendering for memory
On Windows, try increasing the size of your page file (virtual memory). It should be at least the size of total RAM and some people recommend that it is twice as large.

Adobe announces Creative Suite 6

Thu, 12 Apr 2012 06:20:08 +0000

Today Adobe announced the full feature set of Creative Suite 6. Here are the features that stood out at me:

Open CL - Mac laptop users do not get a choice as to which brand of graphics card they use so it's great to see GPU acceleration extended for people with ATI graphics cards.
Full-screen playback - Premiere Pro can now play back your sequence in full screen on your primary monitor, which is great if you're on the move.
New trim mode - This one seems to be aimed at Avid users with dynamic trimming via JKL.
Adjustment layers - This is something I've wanted to see in an NLE for a long time. You can add a Photoshop-style adjustment layer and it will affect all clips beneath it. This is great for applying global effects to a sequence.
Combine mono, stereo and multitrack clips into a single audio track - One big point of confusion for Final Cut Pro switchers was the way Premiere Pro CS 5.5 dealt with audio tracks. Instead of having one audio track per channel, Premiere can create mono, stereo or surround tracks, which means that mono clips can only be added to a mono track and stereo clips have to be added to a stereo track. These limitations are now removed in CS 6.
Big thumbnails that can be "hover-scrubbed" - This looks to be almost identical to skimming in Final Cut Pro X. You can even set in and out points from the thumbnails.
Ability to toggle Work Area off - The Work Area was another point of confusion for FCP users. It allows you to set a certain area of the timeline for rendering and exporting which can also be achieved by setting in and out points. If you don't plan to use this feature, it can now be switched off in CS 6.
Markers can now be assigned a color and duration - I've always felt the marker implementation in Premiere was poor so this is great news. There is also a marker window that provides a summary of all markers in the sequence and you can quickly jump to them. No word yet on whether you can import and export marker lists.
Unlimited multiclip angles - I was disappointed with the four-angle multicam in CS 5.5 so this is a big improvement.
Uninterrupted playback - You can now adjust effects on-the-fly without pausing playback.
New apps - Prelude and SpeedGrade
Prelude has an SDK - Adobe's new tool for ingesting file-based media has an SDK to allow production houses to integrate it into their custom workflows.
Ray tracing, extruding and 3D tracker in After Effects - Adobe is really aiming at the higher end of the visual effects market with these features.
Variable mask feathering in AE - I've never been keen on AE's mask tools so this is a big improvement.
Automatic Duck integration - Pro Import AE is now bundled with After Effects and allows you to import Avid projects into AE.

What's clear from this release is that Adobe is aggressively targeting a broad range of users. There are features in the new release that will be familiar to Avid, FCP7 and FCPX users. Since the demise of Final Cut Studio, Creative Suite is the only suite in town and this release fixes many of my complaints with CS 5.5 (although no word on new developer features yet). I don't think it will change my plan to use Avid for long-form and Premiere for short-form but the wide-open nature of the NLE market right now is something that is clearly producing great results for editors.

Developer features I will miss from Final Cut Pro 7

Mon, 26 Mar 2012 17:57:04 +0000

I'm currently working on a feature film that will be my last Final Cut Pro 7 project. I'd just finished implementing a custom solution to automatically log and sort clips as they are brought in, when it suddenly occurred to me that a lot of what I was doing would not be possible in the future with a competing NLE (at least not on the Mac; Sony Vegas has great scripting capabilities).

Here is a summary of things we can do with FCP 7 that is impossible or less smooth with its replacements:

(Note: we don't develop effects plugins so this post does not delve into plugin-related differences between the apps. But it's a post I'd be glad to link to if someone else writes it.)

Controlling the NLE

Developers can use Apple Events to perform such tasks as programmatically saving and loading projects, highlighting items in a bin and searching. None of the competing apps are able to do this.

We can also communicate with Final Cut Pro over MIDI, which we put to good use in Cut Notes, but Premiere and FCPX unfortunately lack this feature.

XML Interchange

It is important to be able to easily get data in and out of the editing application. There is mixed support for this among competing apps. Avid has XML output via FilmScribe but this is not as fully-featured as FCP XML and I have found the FilmScribe app to be unreliable. FCPX XML exports do not include all of the information within the project or event. Premiere gets full marks for including FCP 7 XML interchange support.

Avid does get some bonus points for being able to import and export marker lists though, which none of the others can (it's even better than FCP 7 which was limited to export only). Some people would say this feature is unnecessary if you have XML input, however it's very useful for applications that don't need or cannot access the underlying project, such as our own Cut Notes app.

Manipulation of project data

Probably the most useful feature is the ability to change data within the project. You can add new clips, batch modify metadata and sort clips into bins. It's very powerful and you can specify various options when importing a clip or bin such as only adding clips that do not currently exist or making copies of existing clips.

More importantly, it can be done on the fly without needing to close the project or modify any files on disk. Quick Bins, FCP Versioner and several of our other apps make use of this feature.

Avid doesn't support this at all and Final Cut Pro X and Adobe Premiere only support this via manual XML import / export.

Premiere wins extra marks for basing its project file format on XML but it then loses most of them by not documenting the project file format nor encouraging development of it.

These are all great features that we're putting to good use in our apps and it's a shame to lose them. We've developed workarounds for most of them but these often require additional manual work by the user, which we're keen to avoid.

Apple created third-party developer ecosystems with FCP 7 and FCPX that simply don't exist with other NLEs (and FCPX's developer features still need some more work, as noted above). We're putting this post out to encourage NLE manufacturers to increase their focus on third party developer-friendly features. Fostering third-party development helps end users, developers and the manufacturers themselves. Everyone wins.

How to get render notifications on your iPhone

Mon, 13 Feb 2012 21:46:58 +0000

Editors spend a lot of time rendering and exporting, and it's very useful to know when a render is complete if you are not currently at your computer.

Render Watcher in Pro Media Tools can watch for renders and then perform various tasks when a render is complete. It supports Final Cut Pro 7, Compressor 3 and 4, Avid Media Composer, Adobe Premiere Pro and Adobe Media Encoder.

Render notifications are not supported for Final Cut Pro X because it has background rendering and the alerts would be going off constantly, however you can get export notifications via Compressor or by adding your export folder to the Watch Folder pane. This also works for other apps not natively supported by Render Watcher.

There are three ways to get render notifications from Render Watcher on your iOS device - text message, email and push alert. (Compressor has email support already, however it is impractical for most users because it requires you to run an SMTP server on your computer.)

Push alerts are the most flexible option because you can customize them independently to make sure render notifications don't get lost in your regular email and SMS alerts.

Here's how to setup render and export notifications on your iPhone / iPad:

1. Download and install Pro Media Tools.

2. Launch the Render Watcher application and tick the boxes for all of the render notifications you wish to watch. If desired, add watch folders for applications not natively supported.

3. Go to the Actions tab and select all of the actions you wish to perform when a render is detected. There are lots of options here including playing a sound effect and showing the exported file in the Finder.

4. If you want to send an email or text message, tick the relevant checkbox and enter the destination email address or phone number (selected carriers only).

If you want to only setup push alerts, skip to step 5.

4a. Go to Preferences and enter the details for the account you wish to send email from. Presets have been included for common email providers but you will be able to get the relevant SMTP server information from your email provider's website. In most cases you should leave the Port field blank.

Note: Your email address and password are not sent to our servers and are stored on your computer in encrypted form.

4b. Click Send Test Email and if your settings are correct you should receive an email from Render Watcher in your inbox.

If you don't wish to setup push alerts, skip to Step 13.

5. To setup push alerts, make sure Display Growl notification is ticked in preferences and then download Growl from the Mac App Store for $1.99. If you don't want to pay for it or are running OS X 10.6 or lower, older versions are available here free of charge.

6. Download Boxcar for iOS. We favor Boxcar because it is free (with ads) but this feature should work with any push notification service that supports Growl, such as Prowl.

7. Sign up for a Boxcar account here.

8. In the Boxcar iOS app, sign in and tap the icon in the top left corner that looks like a grid of nine squares. Then tap Add Service.

9. Scroll down the list (it's not alphabetically-ordered) and tap the entry marked Growl. Setup the notification settings as desired and then click Save.

10. Download the Boxcar plugin for Growl. Unzip the .growlView file and double-click it to install. When prompted, select Yes to open the Growl preference pane or alternatively launch System Preferences and open it manually. If you are running the Mac App Store version of Growl on Lion, the preferences dialog is accessed via the menu bar icon.

11. Go the the Display Options tab in the Growl preference pane (called Displays in the Mac App Store version) and set Default Style to Boxcar. This will send all Growl alerts to your iOS device.

Alternatively, if you only want Render Watcher notifications sent to your device, go to the Applications tab, select RenderWatcherHelper, click the Configure button and then set Application's Display Style to Boxcar. RenderWatcherHelper will only appear in the list when it has displayed a Growl alert at least once.

12. In the Display Options tab, select Boxcar in the Display Styles list on the left and select the option to display notifications using Smoke (or whichever theme you prefer).

13. Enter your Boxcar login information below this and click Verify Login. If your login is accepted, click Preview and you should see a Growl alert on your desktop and iOS device.

14. Start a short render and wait for it to finish. If everything is setup correctly, you should see a Render Watcher alert on your computer and then your iOS device. If you don't see this, double-check that you followed the above steps correctly and that the name of the application is ticked in the Applications tab in Render Watcher or that you are exporting to a directory listed in the Watch Folders tab.

Render Watcher is just one of ten useful tools for editors, assistant editors and post production professionals in the Pro Media Tools suite. To find out more, see the features page, watch the overview video or download the free trial.

18 features Adobe should borrow from Final Cut Pro 7

Fri, 2 Sep 2011 22:24:30 +0000

Apple's recent obsolescence of Final Cut Studio has forced a lot of us to reexamine which editing platform we want to use for future work. Ironically, Adobe Premiere Pro is a much easier transition for FCP 7 users than Final Cut Pro X due to its similar interface, support for old FCP projects and ability to use FCP's keyboard shortcuts.

The transition to Premiere is easier than any other NLE but there are lots of little things that I miss from Final Cut Pro. Here's a list of some of them, in no particular order.

1. Cutting on the fly

The Ctrl+V keyboard shortcut in Final Cut Pro can be used to make a cut on the timeline at the current playhead position. While Premiere also has a keyboard shortcut for cutting (Cmd+K), it pauses playback when it does so. There is no way to cut and continue playing.

2. Sixteen angles in a multiclip

Premiere Pro is limited only to four multicam angles.

3. Audio mixer affecting clip levels

Unlike Final Cut Pro, the audio mixer in Premiere doesn't work on a clip-by-clip basis. Every adjustment affects the entire track.

4. Multi-colored markers and marker lists

It took such a long time for colored markers to be introduced in Final Cut Pro 7 that I was sad to see them disappear in FCPX. Premiere needs this too.

Final Cut Pro can also export text-based marker lists, which is a great way of sending markers to another application. If Adobe were to implement this, I would also recommend they include a way of importing markers from a list, which Final Cut Pro unfortunately lacks.

5. Choosing attributes to paste

Like Final Cut Pro, Adobe Premiere has a useful Paste Attributes command. However, unlike FCP, this function does not allow you to specify which attributes you would like to paste - it just pastes everything. This is often not what you want.

6. Close Gap command

Ctrl-G in FCP can be used to easily close a gap in your timeline. There is no equivalent keyboard shortcut in Premiere to do this in one step.

Update: This one seems to have been misunderstood by a lot of people so I'll repeat it with additional emphasis: there is no way to do this in one step. There are many ways to do this in more than one step.

7. Multiple open projects

Only one project can be open at a time in Premiere. There is no way to refer back to another project without closing the first one.

8. Partial renders

When you cancel a render halfway through, Premiere discards the entire render file, unlike Final Cut Pro where the portion you rendered remains valid.

9. Pitch correction when using JKL keys

Using the JKL keys to navigate through media in Premiere can sometimes be tricky because the audio becomes high-pitched and difficult to understand.

10. No way to scroll tracks vertically with the scroll wheel

Scrolling your mouse vertically scrolls the Premiere Pro timeline horizontally. This is useful if your mouse is only capable of vertical scrolling, but if you have a trackpad or a mouse with a scroll ball, there is no way to scroll vertically to see extra tracks. There should at least be a preference for this behavior.

(FCP tip: if you have a mouse with a vertical scroll wheel only, hold down Cmd when scrolling and it will scroll horizontally.)

11. No through edits

There is no indicator icon to show a through edit. A through edit is a cut within a clip where the frames on either side of the cut are adjacent to each other. It appears to the viewer as if there is no cut at all, and in most cases it is unnecessary and should be removed.

12. No ability to search for clips to reconnect

When media goes offline, you can browse to the location of the file if you know where it is but there is no way to search your entire hard drive.

13. Tracks have to be selected when cutting clips onto the timeline

When inserting or overwriting a clip to the timeline in Final Cut Pro, the tracks that the video and audio will end up on are controlled by the buttons in the patch panel that are normally marked v1, a1 and a2. If you don't want to insert a track, click the button in the patch panel to disconnect it.

In Premiere things work differently. The patch panels AND the tracks need to be selected in order for this to work. If you want to insert video on video track 2 without any audio and have disconnected the A1 patch button, having an audio track selected will insert a blank space into that track. It seems redundant for patch buttons and audio tracks to need to be selected in order for this to work as expected when only patch buttons are needed in other NLEs.

Walter Biscardi gives a video overview of this problem here.

14. No timecode overlay

Final Cut Pro 7 finally brought us a long-requested timecode overlay window. While Premiere does show timecode in the Info window, this is not a direct equivalent.

15. No temporary snapping toggle

In Final Cut Pro 6.0.2 and higher, if you drag a clip and press the N key to toggle snapping, snapping will be switched on or off only for the duration of the drag. Once you let go of the clip, snapping reverts to its previous value. I found this feature very useful.

16. No function to mark audio peaks

Final Cut Pro can place markers on a clip whenever an audio peak occurs. There is no such function in Premiere.

17. No dupe detection

While you can view how many times an entire clip has been used, there is no way to see if a particular frame has been used more than once. This is crucial for film projects that will be having a negative cut.

18. Fewer options for clip markers than sequence markers

Sequence markers in Premiere Pro allow you to set a name, description, duration and various other options. Clip markers cannot be customized at all.

This is a list of things I think FCP does better than Premiere. In some cases, Premiere has no equivalent feature. In others, the feature exists but I feel it is lacking. None of these problems have prevented me from editing successfully with Premiere, but things would be smoother and certain workflows much easier if these features were present. I'm sure Adobe has been getting a lot of feedback from former FCP users and I have high hopes for CS6.

Sound off in the comments if you can think of any more things Adobe should borrow from Final Cut Pro.