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Could Creative Cloud discourage plugin developers from embracing Premiere?
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[Mark Dobson] “I suppose, probably naively, anyone who bought plugins for Premiere would be able to transfer the licence over to FCPX should they want to jump ship.”
No. Probably not. Plus not all are available on both platforms. Some plug-ins work or are licensed for any/all apps (like MB Looks) and others are specific to the host or API (FxPlug versus AE or AVX). Different companies have different policies for cross grades. They also have different versions in the 32-bit to 64-bit transition.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Hi guys,
There are a bunch of plugins for Adobe Premiere Pro. Taking a look at Toolfarm.com you see there are several: https://www.toolfarm.com/products/category/11/all/
There is also the Adobe page: Premiere Pro plugins
The list of plugins should be growing and has grown a lot recently with Noise Industries addition of Premiere Pro CS6 as a host: https://www.noiseindustries.com/fxfactory/
We have some work to do but we’ve also got some work done that will be forthcoming.
Dennis – Adobe guy
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[Oliver Peters] “Actually not. These are used extensively by Media Composer editors among other.”
When I was evaluating DS, everyone I talked to mentioned Boris — but maybe that was just because they were finishing Media Composer shows. Smoke seems to have a strong historical reliance on Sapphire sparks, but Autodesk added a lot of first-party capability by integrating Flame FX to Smoke 2012.
[Oliver Peters] “Lots of potential with probably zero buyers. I don’t hold a lot of stock in vast numbers of Resolve users. The only editors I know (not counting DITs) who have touched Resolve are those who already understood grading apps like Color. That’s a small subset of all working editors.”
Sidebar: how do you see most folks handling color? Built-in effects? “Traditional” grading plugins like Colorista or Baselight? Looks plugins? Ignoring color completely and hoping for the best?
[Oliver Peters] “These plug-ins have historically been tiered to the cost of the host. Sapphire was more for Flame or Pablo than Media Composer or After Effects. Now you’ve got a much lower priced host and those owners won’t pay the Sparks prices that Flame owners had.”
I think this is the problem. We’ve been thinking about the price of plugins as related to the price of the host app; in strict economic terms, I think the price of plugins is related to the cost of development and the sales potential on a given host.
These always used to line up. Flame is a small and demanding market, with a need for a package like Sapphire and the ability and willingness to pay for it. Now I don’t think they line up anymore. FCPX may be a very large market in terms of seats, but with only a tiny proportion of users interested in something like Sapphire, maybe dropping the price won’t actually increase sales?
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events -
You mentioned Noise Industries. Will they have that AE-like work around for transitions with the new version of Premiere?
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[Walter Soyka] “When I was evaluating DS, everyone I talked to mentioned Boris — but maybe that was just because they were finishing Media Composer shows. “
A lot of folks finishing Avid-offlined shows need to have compatible BCC filters. That’s because BCC has been bundled with MC for years, so the offline editors use these filters. Especially in reality shows. Currently MC is no longer bundled with BCC – only Symphony is. However, both are bundled with AvidFX (OEM version of Boris RED), which includes many of the BCC and FEC filters.
[Walter Soyka] “Sidebar: how do you see most folks handling color? Built-in effects? “Traditional” grading plugins like Colorista or Baselight? Looks plugins? Ignoring color completely and hoping for the best?”
Plug-ins. Most editors I see are uncomfortable dealing with most of the available color correction tools. 3-way and eyedroppers is about the most that many editors will tackle. Why do you think MB Looks became so popular 😉
[Walter Soyka] “We’ve been thinking about the price of plugins as related to the price of the host app; in strict economic terms, I think the price of plugins is related to the cost of development and the sales potential on a given host. “
The truth is one has nothing to do with the other. In fact, if you paid less for the host, you have MORE left over to buy really good plug-ins. Unfortunately most don’t think of it this way.
[Walter Soyka] “but with only a tiny proportion of users interested in something like Sapphire, maybe dropping the price won’t actually increase sales?”
I think they are trying to approach this dilemma through Sapphire Edge. Low cost of entry and then a subscription for the monthly collections (updated presets libraries).
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
I am of the opinion that those in the 20% are mostly new to the app and would rather spent 600. bucks then shell out a couple of grands just to test it. It remains to be seen if after the year is up they would choose the cloud or the perpetual license. I belive that many will have both but most will like it so much that they will prefer a perpetual license if available.
Richard
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There was a thread on Twitter recently where someone asked Graeme Nattress about his plugin set and when it might be available for Premiere Pro. Graeme has a couple of interesting comments:
“I would love to provide a solution with them in PPro, but it’s just not easy.”
“working on it, but it’s slow going with Premiere.”
On the question if it was a personal issue or a technical one, he responded:
“both I’m afraid.”
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[Craig Shields] “You mentioned Noise Industries. Will they have that AE-like work around for transitions with the new version of Premiere?”
You bring up an issue that I knew I was going to respond to. Or at least, I’m answering what I think you’re getting at – let me know!
Essentially, this is where the plugin vendors have to step up and I would appreciate the community helping out by contacting their vendors and letting them know they want this.
In order to have an instance of an effect manifest itself as a ‘transition’ inside of Premiere Pro, the plugin vendors have to do a little extra work. Up until now, they have been content to do the work for After Effects and then say ‘it’s Premiere Pro compatible’ which is true. We make our architecture such that if you do the work for AE, it will likely work in Premiere Pro as well. However, as more and more people switch to Premiere Pro, users want the effects (or some of them) as transitions. In order for them to do that, they need to do a little extra work. This functionality has existed in the Premiere Pro SDK for some time and we have resources to help plugin manufacturers get answers to any questions they may have.
More of them are doing it and new plugins have had no issues making this happen. Film Impact has been one example that I have pointed to in the past.
Cheers.
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[Oliver Peters] “As a general rule, editors aren’t big plug-in users the way designers are, unless they are just looking for something unique or special to set their work apart from others.”
Promo folk being the exception, I expect. We’re pretty plugin driven. Especially transitions.
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