Re-arrange these as you see fit and save custom workspace layouts. Premiere Pro uses a system of dockable tabs common across several of Adobe’s applications, including After Effects and Photoshop. It is arranged well for single and dual-screen layouts, though you have very few options to move any of these windows around and create custom screen layouts. Bins can be filtered by a search field, which will reduce the amount of clips displayed according to the search criteria being typed in.įinal Cut Pro X’s interface design is based on panels and windows that can be opened and closed as needed. Open the metadata display window and you find plenty of fields that are assignable to each clip. This doesn’t mean that Premiere Pro doesn’t track a lot of data, as well. Plus a considerable amount of camera and textual metadata is tracked in the background. Final Cut Pro X takes this to a new level and uses ratings, keywords and smart collections as a means for fast and automatic organization of your media. Not to mention, there are effects and transitions for FCP X that simply don’t exist – or can’t easily be re-created – for any other NLE.Īll NLEs are giant databases tracking information. Since this latter approach requires less programming skill, the market for low-cost (and even free) FCP X plug-ins has exploded. These in turn are published to FCP X as effects. This allows developers to not only create updated plug-ins for Motion and FCP X, but also add new and unique effects and transitions built strictly as Motion projects. Instead third-party plug-ins use FxPlug through Motion and then show up inside FCP X as a Motion template, rather than a traditional plug-in. To compare, Final Cut has no plug-in architecture. Lately, developers have been tweaking their filters to make them work – or work better – inside Premiere. If you edit in Premiere, you are best off doing your effects in After Effects. Many of the third-party After Effects plug-ins show up and work within Premiere Pro, but some don’t. The plug-in architecture for Premiere Pro has historically been weak. For similar dollars, you get similar capabilities – only with the added ability to pick and choose what’s right for your workflow. It’s not an official “suite” of software and interoperability is limited to translations of FCPXML. On the other hand, there’s a large ecosystem growing up around Final Cut Pro X that constitutes much of the same. These aren’t all fully developed yet, but it’s a key reason some editors prefer Premiere Pro. The beauty of the Adobe software is its integration, with direct links between Premiere Pro and After Effects, Prelude, Audition or SpeedGrade. Final Cut Pro X is only available as standalone software through the Mac App Store. Premiere Pro is generally purchased as part of the Production Premium or Master Collection software bundles – or as part of a Creative Cloud subscription. We can argue the merits of CUDA, OpenGL and OpenCL acceleration, but it’s pretty clear that FCP X running on a decked-out iMac outperforms the application on a Mac Pro tower. Naturally, if you opt for Final Cut Pro X, you have software that has been tweaked for the most current Apple hardware. The exception is the Creative Cloud subscription, with permits access to both Mac and Windows licenses on up to two machines, as long as they aren’t used at the same time. Unlike Avid, you cannot simply go from a PC workstation at a facility to a MacBook Pro at home with a simple de-activation/re-activation process. Although Premiere runs with both CUDA and non-CUDA cards on Macs, the selection is limited.Īdobe’s standalone software must be purchased with either a Mac or Windows license and switching platforms requires cross-grading the license. Premiere on a PC can tap into the faster NVIDIA CUDA-enabled cards, which is not an option for either Premiere or FCP X on the Mac. The biggest consideration is that by having the tool available to Windows, you open your access to the fastest machines and GPU cards. Premiere Pro runs on Mac OS X and Windows workstations and laptops, while Final Cut Pro X is a Mac-only product. Instead, my goal is to lay out some random considerations in making the move. Both are good tools and much of the choice gets down to personal preference. This post is not intended as a “shoot out” or to say one is better than the other. The rest are in the process of shifting to Premiere Pro, while maintaining some continued use of FCP “legacy”. I’m one of only two local editors that I know of, who is actually using FCP X professionally. Most of the editors and facilities in my sphere are doing just that. For many this means shifting to the Adobe Production Premium bundle – part of Creative Suite. The struggle within most shops that invested in Apple’s Final Cut Pro is whether to stay put a while longer, adopt Final Cut Pro X or cut the cord and move on.
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