CS6 is released – so what now?

[David Lawrence]

[Jeremy Garchow] “DavidL, I appreciate your enthusiasm for Red @ 1/16 resolution on an older laptop,mand you know what, I never thanked you for your article either. Thank you.

I have to say though, try 1/16 for a whole project, it gets pretty tiresome. Even 1/2 is tough. It’s awesome for quickly checking shots, but it’s not sustainable through a project, at least for me. I personally need more detail (I also use external monitors most of the time).”

Jeremy, thanks. And I appreciate your comments in the article thread as well.

I hear you about the limits of 1/16 res, I think I’m just shocked to see full-motion 4K playback on a machine this old. One nice thing is Premiere snaps the picture back into sharp focus when paused so you do see all detail. I was able to see the nuances of the actor’s micro expressions and the differences between takes well enough to cut the scene. But I agree you wouldn’t want to cut a feature (or even a short) this way. I’m just amazed that it’s even possible.

_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl

[John Heagy]

[Jeremy Garchow] “Think if an export takes 30 minutes in Premiere. After export, a client changes their mind. You make the change, it could be another 30 min export.
Or you have to make another version, that’s another 30 minute export.
Again, this is an over generalization, but this process takes seconds/minutes in 7. “

Every export is an encode and no ref movie export. Export is my biggest issue with Pr.

The biggest plus is the Ae like motion tools and key framing.

John

[David Lawrence]

[Jeremy Garchow] “For instance, I make lots and lots of versions per day. Export is a big deal to me, it might not be for some.”

I’ve had projects like that and I do take that ability for granted. So yes, this will take some major rethinking in PP.

[Jeremy Garchow] “Remember, you are talking to one of those dork bags that actually doesn’t mind the direction of fcpx. PPro is absolutely more powerful in it’s usability (and familiarity), but in terms of UI, I really don’t mind learning new ones. I don’t mind new approaches to things, and I don’t mind if I have to adjust. It’s part of the process and helps makes decisions, even in my editing.”

LOL, maybe we’re all dorks, we just dork out on different things. I like learning new UI too, and you can be sure I’ve been doing that a lot the past week. But the difference is that I feel like I’m moving forward.

I do like parts of FCPX. My main gripe with the magnetic timeline is with what I see as unnecessary lack of control, and frustrating inconsistencies and limitations within its own conceptual UI model. Plus it runs like a dog on the exact same machine that PP6 can cut RED 4K on. What’s up with that? I’m sure it’ll improve but I’m not willing to wait out or work around the growing pains. I am curious and interested and will keep an eye on it though. I’m super curious how they’ll fix multi-track audio, for example.

[Jeremy Garchow] “Cutting does feel very similar, yes. You’re right. Switch to fcp7 hotkeys, and you’re up and running pretty quickly, i/o f10, blade, etc, but to me that’s just the surface.”

I hear ya. I guess for me, that surface and its UI mechanics are the instrument itself. With so many choices, it’s gonna be an interesting Summer for everyone.

_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl

[David Lawrence]

Thank you, Bill. Very much appreciate the sentiment and wish you the best with your path as well. It’s been an insanely disruptive year but all things considered, looks like it’s turning out well for everyone. Nice to know there’s more choice and possibility than ever. I feel good about the opportunities. Interesting times, indeed.

_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl

[Lou Borella]

Hello Everyone

I’ve just started a new Facebook page asking Apple about the state of the MacPro. I know its a long shot but I’m hoping that I can get enough people to become a fan of the page, forcing Apple to make a statement on the status of MacPro lineup.

I’ve sent this link to the editors of all the popular Apple rumor and tech sites.
I’ve also had a conversation with Larry Jordan about this and I’m hoping that he will post the link on his blog.
I’ve also spoken with Rob at BareFeats.

Here is the address:

https://www.facebook.com/MacProsPlease

Spread the word!!!
I’m hoping this goes viral!!!

Thanks
Lou Borella

[Steve Connor]

[David Lawrence] “It’s been an insanely disruptive year but all things considered, looks like it’s turning out well for everyone. Nice to know there’s more choice and possibility than ever. I feel good about the opportunities. Interesting times, indeed.
“

Well said, I’m very happy with the tools I have in the box now.

Steve Connor
“FCPX Professional”
Adrenalin Television

[Thomas Frank]

Well since there was allot complains that FCPX has Skimming from iMovie and it makes it unprofessional I was going to jump to CS6. Wait it also has Skimming now. Dammit!!!

I guess I have to wait for LightWorks lol

P.S. I also noticed that the default layout reminds me allot of the Final Cut Pro 7 layout Apples marketing images used for there Laptops.

[Mike Molenda]

They EOLed OnLocation! Adobe doesn’t care about their pro users, they’re just interested in moving copies of Acrobat Reader!

All kidding aside, I started using Premiere CS4/CS5 alongside FCP at my day job about a year ago. Back then, I referred to it as Final Cut’s homely cousin. But then she grew up to be hot! After the FCPX release, I started integrating CS5.5 alongside FCP in freelance work, and now I find myself starting up projects in Premiere far more frequently than in FCP. So the upgrade for me was kind of a no-brainer, and I am eagerly awaiting my discs in the mail.

[Walter Soyka]

[Thomas Frank] “Well since there was allot complains that FCPX has Skimming from iMovie and it makes it unprofessional I was going to jump to CS6. Wait it also has Skimming now.”

Skimming was one of my favorite features in FCPX, and I’m glad to see hover scrub in Pr. Smoke has always had skimmable thumbnails (though it requires a click and drag, not just hover).

Skimming may take a little getting used to, but both FCPX and Pr allow the user to toggle the feature, so the “skimming is unprofessional” argument was really pretty weak when it was originally levied against FCPX, and I don’t think there’s anyone left in the room who actually feels otherwise.

That toggle which both Apple and Adobe saw fit to include was really, really important. Using mouse hover for major functionality, rather than limiting its use to simple visual feedback about the interface itself, is a really big departure from just about everyone’s UI standards. Think about it — what other actions can you accomplish with a mouse, but without a mouse button?

While we’re on the subject of skimming and hover scrub, I think that the naming of these features really exhibits the difference in mindset between Apple and Adobe.

“Skimming” is a simplified, accessible name which gives the gist of the feature without any other detail, while “hover scrub” combines two technical terms to describe precisely what the feature does and how to use it. It’s interesting to see both companies executing their philosophies, even in relatively minor details like this.

[Thomas Frank] “P.S. I also noticed that the default layout reminds me allot of the Final Cut Pro 7 layout Apples marketing images used for there Laptops.”

It’s an interesting layout — really puts your footage and the current cut front and center by maximizing the source and program windows. The classic FCP default layout maximized the timeline at the expense of viewer and canvas. Project/bin windows in each are roughly comparable.

One of the things I like best about Pr and Ae is the Adobe windowing environment. Docking panels rock (but floating windows is still an option if you are so inclined), and everything is highly customizable.

Personally, I find that the bin window in the default view is usually too small to use with hover scrub in icon view, so here’s one of my favorite Pr/Ae shortcuts — the grave key (`), immediately next to the 1 on the US keyboard, and often mistakenly called the tilde key. Press it once and it will maximize the panel under the cursor (hiding all other panels); press it again and it will restore all panels to their previous sizes and locations.

This is perfect for bouncing back and forth between reviewing footage (with icon view and hover scrub) and actually cutting it.

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

[Chris Harlan]

[Walter Soyka] “so here’s one of my favorite Pr/Ae shortcuts — the grave key (`), immediately next to the 1 on the US keyboard, and often mistakenly called the tilde key. Press it once and it will maximize the panel under the cursor (hiding all other panels); press it again and it will restore all panels to their previous sizes and locations.
“

Score!