Join Maxim Jago for an in-depth discussion in this video Round-tripping with Avid Media Composer and Apple Final Cut Pro, part of Premiere Pro CS6 for Avid and Final Cut Pro Editors.
For some time now, Premiere Pro has allowed you to work with other editors using Media Composer or Final Cut Pro. The work flow as far as Premiere Pro is concerned, is extremely simple and the only gotcha you need to think about, really, is that Premiere Pro is a bit more flexible when it comes to file types than Media Composer or Final Cut Pro. So if you're deciding which system to ingest with, my advice is to ingest using the other system, and Premiere Pro is much more likely to be okay playing back your original native files.
Effectively, the work flow is one way you're sending an EDL. An edit decision list from the other editing system to Premiere Pro and back again. And the precise format of that EDL varies. In the case of Final Cut Pro, you will use the Final Cut Pro 7 XML format. In the case of Media Composer, you will use an AAF file. In both cases, you don't want to embed any media, well, you can't with the XML, but you could with the AAF. You just want to link to your original files. There are limits on the file types and formats that are supported.
With Media Composer, you'll generally get better results if you've ingested your media using AMA. With Final Cut Pro, you should be fine with playing back your pro res media, but I guess the secret is to test the whole work flow before you count on it. So here's the process for importing into Premiere Pro. I'm going to double-click to import like any other kind of file and here in amongst the video assets for this project, I've got Final Cut Pro and Avid Import files. Here's an XML from Final Cut Pro, and I'm just going to click Open, just as if it was a video file.
I get a warning saying that I should check The Final Cut Pro translation results report, added to the main bin, for possible issues encountered during translation. And the issues you might encounter are that there might be proprietary effects in your project, that just won't travel through the edit decision list. What it comes down to I suppose, is anything that you would expect to work with a CMX3600 EDL, and coincidentally, they are supported as well. Anything like that will probably make it. Cross dissolve, that kind of stuff. You're probably okay. For projectory color correction effects, forget it. It's just not going to work.
So I'm going to click OK. And Premier Pro is going to ask me for one of the files included in the sequence I'm importing. This is just the same as opening a project that you created in Premiere Pro. And you had your media on a different hard drive. So I'm going to go up, and here I've got my files. And down here I've got this option Display Only Exact Name Matches. Which is fantastically useful. I'm going to tick this box. And now the file that has this name is going to appear. Now, this feature works as well if you use the quick search both in Windows Explorer and in Finder. But only if you take the box before you begin searching. So I tick the box, then search, and it's a massive time saver. I only need to select the first one and Premiere Pro should find the other clips. And now, I've got a bin named after the item I've imported. And in that bin, I've got all of the clips that are in the sequence. And there is the sequence itself.
Double-click to open it up. I'll just turn the audio off cuz it's pretty noisy, this one. And there you can see, if I zoom in a touch. There is my sequence straight out of Final Cut Pro. If I want to send it back to Final Cut Pro, I'm going to go File Export > Final Cut Pro XML. Primary Pro is telling me I need to save before continuing. That makes sense. Okay. And now I get the opportunity to save this to my hard drive.
Notice that I've got a Save As Type option. But there's only one option on the menu. The workflow for Media Composer is exactly the same. I don't have the media for the Media Composer project on here, but I can show you the results. I just need to select the item and click Open. It might just work, let's have a go. There we go, locating media, let's see if we've got the files here. Yeah, it looks like we do. Select, and there it is, the Avid sequence.
Open it up. Zoom out a little bit. And it works just the same. You can see this is the same sequence, it's just been passed between multiple systems. Sending it back to Avid is very much the same principle. Go to File, choose Export. AAF, save the project, choose a location, give it a name, and you can send this project right back to Avid Media Composer. So ram tripping, between Media Composer, Final Cut Pro, and Premiere Pro CS6, is super simple. Just test it before you use it so you can make sure that the files you're working with are compatible.
Not so much with Premier Pro more with the other editing systems.
- Introducing Adobe Premiere Pro CS6
- Creating and managing projects
- Working with sequences
- Applying effects, color correction, and opacity
- Titles and metadata
- Integrating Premiere Pro with other applications
- Working with audio
- Outputting video