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Why Do You Like Premiere?
Greetings all,
I’ve worked with Media 100 for 10 years, a bit with Final Cut Pro, and for the the last 4 years w/Avid Media Composer Adrenaline HD, all at my “day” job.
For my night gig, I’m using a legacy Media 100 system that’s still solid, but of course, slow and outdated.
I’m thinking about my next move and I’m considering the Adobe suite of products. I use AE, AI and Photoshop, and have been using Encore for Blu Ray DVD production. I gotta say I’m pleased with all these products.
Which leads me to ask what it is you like about Premier. I’ve not used it, but it sure seems like a cost effective investment, especially given how much I use other Adobe products.
What are some pros/cons about it, and where might I find some detailed reviews by other users?
Thanks for considering,
Tim Scarpino
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6 Replies
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Well…the opinions will fall all over the place of course…
I think that FCP and Premiere Pro are actually much closer than most want to admit. There are a number of differences in how many clicks it takes to do this and whether or not you need to click a button or access a menu to do that…but the difference between FCP and PPro is razor thin compared to differences between Avid and M100 or Avid and either one.
FCP has become a bit of a defacto standard in the industry, I think to some extent because it came along later and was pitted against Avid’s niche from the beginning.
The first version of Premiere way back when was a QuickTime movie editor significantly predating most mainstream broadcast online video editing…back when Avid was basically the same thing with it’s capability to handle timecode supplying the ability to do a low-res single field cut outputting only an EDL.
The first feature that went direct to film from an online compressed HD edit wasn’t from ProRes/FCP…it was several years ago on Premiere Pro/CineForm and the film was ‘Dust to Glory’ which made the cover story in several of our trade mags.
As far as available capability…they seem somewhat even in my mind with various areas that one or the other excels in…
FCP/Mac was first with the capability to ingest/cut DVC ProHD with only FireWire I/O (though with no external 709 monitoring), and that’s an edge, PPro can do 2K with CineForm without any additional hardware and has had a motion RAW workflow with Silicon Imaging for two years (RED/FCP sort of presents their workflow as a revolution of course) otherwise the workflows stack up pretty evenly IMO…
I personally find that running weird settings like editing multimedia projects at odd framesizes like 1024×768 seems a bit less clunky in PPro, …obviously whatever is most important to your daily work obviously colors the debate…
One feature that I think is often overlooked in PPro is that the timeline can be switched between video frames and audio samples. Being able to slip/slide audio tracks in audio sample increments is a huge, huge feature. How many of us have to have all sorts of compensation techniques for cutting a quick music bed to length on the timeline, but not being able to ‘beat’ cut it so the cut is glaringly obvious…moving the clips by audio sample increments enables audio post app-like precision right below the video tracks…
OR…dual system audio/video syncing…how many of us have been frustrated by being forced to settle for a half frame ahead or behind because the ability to adjust the timing is restricted to 1 frame increments? Switching the timeline to audio samples and syncing, then going back to video frames to edit is pretty damn handy.
Also…and I think this probably goes without saying, but PPro’s ability to utilize Photoshop graphics on the timeline is FAR superior to FCP’s ability to exploit a PSD.
Many opinions out there certainly…these are mine.
TimK,
Director, Consultant
Kolb Productions,CPO, Digieffects
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The one glaring omission in FCP (at least in older versions I’m acquainted with) is the lack of ability to use image sequences on the timeline. PPro does this quite well.
OK, so as an animator, I’m biased– just about everything I do is image sequences, but still…-jeff
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This kind of feature is especially important and appreciated when at 3am on a tight deadline and your render crashes/locks up for some unknown and unfathomable reason, so you render out as numbered frames and avoid the lock-up. I don’t have enough hands and fingers to count all the times over the years when sequential numbered files have saved my tush in the fire.
Nice point, Jeff. Cowdog says get yourself some kibble and beer for that one.
Best regards,
Ron Lindeboom
Remember: Burt Bacharach lied. What the world really needs now is an undo button.
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Interesting…
I guess I’ve always just took for granted that FCP would have image sequence handling…never tried it in FCP.
OK so in the frame sequence category goes to PPro…
I also forgot to mention that with the most recent updates, PPro now pulls even with FCP in the P2 MXF and XDcam MXF native editing capability column…
TimK,
Director, Consultant
Kolb Productions,CPO, Digieffects
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I’m a big fan of PP but not being able to output to OMF is a huge pain.
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I’m running FCP and CS3 Master- I like both, but i have to give it up to Adobe with all the have missed in fixing the suite (my opinion) the adobe bridge pushes FCP out the water. Being able to edit in PPro and FIx some audio in audition or sound booth, add f/x in After Effect, fix a Picture – all in the time line of PPro with only a right click. After the right click which ever program you need to go in to you make you changes and you don’t have to move anything if you did something to a picture in updates in the PPRO time line – no removing old and re-inserting the new. When I’m in FCP thats when i realize how much time i save in adobe. Now since Adobe is on the Mac it’s great. On http://www.tv.adobe.com there is a FCP editor talking about the great use of CS3
hope this helps
twann~the real fun begins when the program loads
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