- April 24, 2012 at 4:56 pm
Just had this email from an editor friend of mine – it’s second hand info so I can’t personally vouch for it’s accuracy – but no reason to distrust.
“Just heard that the Beeb have ditched FCP and bought 1400 Premieres”
- April 24, 2012 at 5:04 pm
This is old news, an announcement about the BBC’s purchase of a couple of thousand PPro seats was made in 2010. Since then it hasn’t been spotted “in the wild” at the Beeb. Perhaps they were waiting for CS6 before they rolled it out?
- April 24, 2012 at 7:57 pm
I have been trying to find out about this since it popped up in another thread but it does appear not to be in use yet. As Steve says its based on an old press release.
There was speculation from one BBC producer I asked that some departments used FCP for “self op” work rather than programme making proper and that it may be to replace that, which would exlain the volume of licenses perhaps.
If I get any actual sightings “in the wild” I will report.
- April 24, 2012 at 9:48 pm
Ditto. Haven’t seen any Premiere seats in any of the suites I’ve worked in, and none of the tech staff I’ve had contact with are talking anything other than Avid and FCP7. Will keep an eye out though…
Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.
*the artist formally known as Jaymags*
- April 25, 2012 at 5:57 am
It seems really bizarre to me that after all the time that has passed since this story was first made public, the only thing anyone knows regarding Premiere Pro at the BBC is that the BBC bought over a thousand copies of Premiere Pro. Aside from that the only thing that’s been said about this is what they “might” be using it for.
This whole thing is starting to sound like a story on Unsolved Mysteries or something.
I can see the host right now…
“…And THAT’s how the mystery of the Loch Nes Monster was finally unraveled for good. Now that we know the truth behind it, it’s actually surprising it took this long to finally figure everything out.
And now before we go, I want to remind our viewers: If you know anything, and I mean ANYTHING, about the whereabouts of the copies of Premiere Pro that were purchased by the BBC… call our toll-free number immediately”.
“THAT’S our fail-safe point. Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”
- April 25, 2012 at 2:01 pm
[Greg Andonian] “It seems really bizarre to me that after all the time that has passed since this story was first made public, the only thing anyone knows regarding Premiere Pro at the BBC is that the BBC bought over a thousand copies of Premiere Pro. Aside from that the only thing that’s been said about this is what they “might” be using it for. This whole thing is starting to sound like a story on Unsolved Mysteries or something.”
I find absolutely NOTHING about it odd.
Companies like the BBC make it a matter of policy to not allow their people to either directly or indirectly endorse a product. In fact I have heard of people dismissed because they violated policy in these kinds of matters.
I was on a phonecall just last week with a company trying to get them to do a story with us for the magazine and the production team were gung ho but they couldn’t get clearance from the suits to do it. The reason they were given was that they “do not wish to lose any leverage they have in negotiating for a better price in the future.”
Many of the largest companies — companies like Disney, for example — will refuse to clear projects for publication that include stories about the gear and equipment and software used. They believe that the end product is the story, not how they got there.
When I first heard the story about the BBC and Adobe Premiere Pro I didn’t think for a second that we’d get the story. We didn’t even bother trying. We have been down that road many times. Most lead to a dead end. The bigger and more storied the company, the greater chance of a dead end.
My advice: don’t hold your breath waiting for information about software used, etc., from companies like the Beeb.
Creativity is a process wherein the student and the teacher are located in the same individual.
“Incompetence has never prevented me from plunging in with enthusiasm.” – Woody Allen
“Be who you are and say what you feel because those that matter, don’t mind — and those that mind, don’t matter.” – Dr. Seuss
- April 25, 2012 at 3:26 pm
In 2010 the BBC announced ‘Project Fabric’ as the new metamorphosis of its Digital Media Initiative – aka Don’t Mention It… Google why ;-(
In this video https://vimeo.com/12557132 a slide shows the proposed use of Premiere Pro (and FCP) – its discussed at about 11 mins in:
” We will be able to exchange material between what we call ‘Craft Editing Systems’, FCP – we have 2500 – and Avid – we have even more, and ‘Desktop Editing Systems’ (Premiere Pro and Cinergy).
Now the desktop editing systems are playing a very important role – when you produce a programme you have to book a Final Cut suite to do your editing, and you have to book that at a certain time.
What will happen is that everyone – literally everybody – will have access to desktop editing systems where they can actually choose whenever, wherever,to start using a desktop editing system.
So this has gigantic implications for the whole of the BBC.
All of a sudden people that on paper don’t have the qualities to do this editing have access to editing machines, and they might be very good…”
There is further info about ‘tools for everybody’ and the ‘experience of the editor’ at 17.40 mins in.
The whole presentation is interesting from a Cloud collaboration point of view – the BBC’s thinking (as of 2010…)Some contents or functionalities here are not available due to your cookie preferences!
- April 25, 2012 at 7:17 pm
I only know of one production at the BBC using premier. At that’s basically because the producer only uses PC’s and doens’t like Avid – totally mad! The VT editor is constantly hitting her head apparently. She cuts a very similar show for a different producer in the same dept on Avid and gets it done in half the time!
I suspect – and will to find out – what’s happened is that the BBC bought a blanket licence for the production suite or master collection as it worked out cheaper than buying separate licences for AE and PS, which instantly gave them 1200 copies of Premier – if they want it or not.
London Based DP/Editor
- April 25, 2012 at 8:58 pm
[Paul Dickin] “The whole presentation is interesting from a Cloud collaboration point of view – the BBC’s thinking (as of 2010…)
I wonder if the cuts announced in-between may have changed their plans
- April 25, 2012 at 9:13 pm
surely the interesting number is the 2500 seats of FCP7 mentioned above? – which BBC lists as equivalent to Avid – as a ‘craft editor’ in 2010.
the point would be what happens to those 2500 seats with FCP7 EOL?
Avid might be the simple answer, but I’d guess, in entire ignorance, that the BBC techie bods are, at the very least, taking a somewhat newly serious look at PPro 6, which they, like, have anyway…
to quote Scott Simmons from editblog:
If we all start to sense a communal dance towards Premiere at the same time, then the Facility scale pickup and implementation could be pretty big and pretty fast?
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