Wednesday, July 11, 2012

ISO an NLE - Part 3

One of the reasons I am looking to leave FCP 7:

Well, while I love FCP 7 and can work in it with my eyes closed, this is the exact reason that I am looking to move on.  Today, I received 200 GB of Canon 5D Mark II footage with dual-system audio,  This show I am on was already started in FCP 7 but when it was started, it was on some weird HDV (ugh, don't get me started on THAT mess) format that FCP 7 sorta worked with.  Now that the entire show delivers hundreds of GB of compressed H.264s from these DSLRs and Zoom recorder audio, I spend days just on ingest and syncing, multiclipping, and binning.

No more should we have to work this way and unfortunately Apple's answer was a little bitter and hard to swallow.  I am still playing around with FCP X but even with a "Pluraleyes"-type thing built in, if my footage is not shot and captured in a way that makes sense in FCP X, syncing still isn't super fast.  I haven't had to deal with dual-system audio in Premiere or Media Composer yet but this step is just a pain in the ass -- even with Pluraleyes.  I don't want all my stuff laid out in a timeline for me to grab unless it's a string.  I take pride in my bin organization.  Perhaps it's a workflow I need to get used to.  How do you implement Pluraleyes?  Do you leave it in the synced sequence and pull from there as opposed to your bins?

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