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Adobe Premiere Pro CS5.5 improvements in Final Cut Pro XML interchange

We made a lot of improvements in Adobe Premiere Pro CS5.5 in the import and export of Final Cut Pro XML project files. Some of these improvements are new features, whereas some are bug fixes—and some can be either depending on how you look at them.

Here are the notable improvements, though not a complete list of bug fixes.

  • When Premiere Pro finds a reference to a ProRes proxy for RED (R3D) footage in an FCP file, it uses the full-resolution RED footage in instead of the ProRes proxy. If the resolution of a RED proxy clip doesn’t match the original RED media (e.g., a 2K proxy for a 4K original), Premiere Pro scales the clip in the Motion effect to maintain the same dimensions in Premiere Pro that were used in FCP.
  • Swapped the title for imported RED media to use the .R3D file name instead of the name of the .mov proxy used by FCP.
  • Fixed handling of audio in RED files.
  • Final Cut XML files generated by iMovie are now imported by Premiere Pro.
  • Fixed various bugs regarding importing and exporting of stereo and 5.1 audio.
  • Audio levels are now translated correctly. On export, Premiere Pro converts Volume to FCP Audio Levels, and converts Gain to FCP Gain—instead of the other way around, as was done in Premiere Pro CS5. (Audition export continues to use the old behavior.)
  • XDCAM HD clips with two channels of audio are now imported correctly instead of being incorrectly flagged as having four channels of audio (which caused crashes on playback).
  • Duplicate master clips are no longer created incorrectly in various cases.
  • Fixed instances of “generic error” failures caused by a mix of clips with and without masterclipid attributes.
  • XDCAM 1440 material is now imported with the correct pixel aspect ratio.
  • Premiere Pro now generates multiclip names the same way that FCP does (e.g., “My Clip[1]-Multiclip 2”) instead of the original, simpler implementation (“Multiclip 2”).
  • Set default sequence presets for sequences that use the Apple IMX codec or Apple DVCPROHD 1080p30 as their renderer in FCP.
  • Fixed bugs that led to incorrect interpretation of pixel aspect ratios.
  • Premiere Pro now sets the correct media In and Out points for clips that have speed changes applied in FCP.
  • Translation between Three-Way Color Corrector effects is improved, including adding the translation between these effects on export.
  • Fixed bugs in export of In and Out points for clips in Project panel.
  • Alpha channel values are now exported, instead of all assets being labeled as having no alpha channel.
  • A codec block is now added to each exported sequence, setting it to use ProRes 422 as the sequence render codec. This allows most formats to play without rendering in FCP. Previously, Premiere Pro didn’t specify a codec, so FCP defaulted to NTSC DV for all timelines.
  • Premiere Pro now adds FCP distort and scale parameters when the pixel aspect ratio (PAR) of a clip doesn’t match the PAR of the sequence its in. Premiere Pro handles this scaling implicitly, but FCP does it explicitly via these filters.

For a complete list of new and changed features in Premiere Pro CS5.5, see this page.

For resources to assist with the transition from Final Cut Pro to Adobe Premiere Pro, see this page:
“Premiere Pro overview documents for Final Cut Pro and Avid Media Composer users”


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