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Does FCS hold a candle to Adobe anymore?
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This is a post production forum, not a multimedia forum so your finer points about multimedia don’t even matter.
I’ll state my point once again, FCP is better at getting clients than Premiere. Prove me wrong.
Here’s another one, nothing in any of the Adobe collections can even compare to Color. I used to use After Effects and Color Finesse for grading years ago, so don’t even argue with me about that.
Regarding Pro Tools, some of it’s features are lacking, but when it comes to what matters, it excels. If you’ve ever worked in broadcast with tight deadlines, you’ll know that any other DAW can’t compare with it’s editing and mixing speed. Other’s are better in regards to music production(like Nuendo), but once again, this is a post production forum so that doesn’t matter.
Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
(Seriously though, that’s the name on the paycheck) -
[Illya Laney] “This is a post production forum, not a multimedia forum… “
In fact this is a video editing forum.
First time I opened PP was in 1996.
I was so disappointed that I never considered again editing in a computer till I met FC.
PP simply wasn’t designed by video editors.
All that integration is great but even 90% of PP users do not need it.
rafael -
“The Adobe Production Premium may start to take sales away from FCS because it is 64 BIT and integrates well with all the other Adobe products.”
What market do you work in by the way?
Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
(Seriously though, that’s the name on the paycheck) -
[Illya Laney] “”The Adobe Production Premium may start to take sales away from FCS because it is 64 BIT and integrates well with all the other Adobe products”
90% of PP users don’t understand the difference between a 32 and 64b system.
Well, they understand that is the double of bits:-)
rafael -
I was quoting Arc, the 64 bit statement wasn’t mine.
I agree, most Adobe users have no idea about the difference between 32 and 64 bit and I don’t think anyone’s going to migrate to Premiere just because of that. People still don’t even really know how stable it’s going to be.
Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
(Seriously though, that’s the name on the paycheck) -
[Illya Laney] “I was quoting Arc, the 64 bit statement wasn’t mine.”
I know.
We have to understand that the PP boys haven’t had much to cheer about and now they are excited. Seems that some how they blame FC for this 10 years of frustration.
I promise, when the next FC release, don’t to go to the PP forum to shout that FC is again better than PP.
rafael -
[Illya Laney] “I’ll state my point once again, FCP is better at getting clients than Premiere. Prove me wrong. “
No it’s not. It’s the artist and the facility that gets the clients. Put a lousy editor in an FCP suite and you’re not going to get any clients. Put a lousy editor in an Avid suite and you’re not going to get any clients.
Clients are going to look at your reel. When I first installed FCP I lost clients because that was back with FCP 1.2.5 and Atlanta was an Avid town. Media 100 cost me clients too because the Avid editors had done such a great job of telling everyone who would listen how bad of an editing tool it was even though the codec was better than Avid.
Also, there are many more really REALLY bad editors using FCP than good editors so one of the things I still have to overcome is Producers who had a really bad experience with one of those editors who purchased the software, no clue how to use it, and assume that it was FCP that was the problem, not the editor themselves.
If clients come to you because you have FCP over Premiere, that’s not a valid reason to use your facility. Most Producers have learned that all the tools are cheap and they are simply looking for the best artist at the best price. That’s what wins and loses clients. The editing tool is immaterial.
As an Editor I’m looking for the tool that will be the most efficient and give me the most options and quality for the money. As of right now, both Avid and Premiere are more efficient with the tapeless workflow than FCP.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” featuring Sigourney Weaver coming soon.
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[walter biscardi] “No it’s not. It’s the artist and the facility that gets the clients. Put a lousy editor in an FCP suite and you’re not going to get any clients. Put a lousy editor in an Avid suite and you’re not going to get any clients.”
Walter, this is partially true. I know this for a fact because we were courting a big client thru an ad agency and lost the account because we were not editing on Avid. Oh well….
FCP is a perfect platform for what our shop does. Avid is better for others, but not for everyone. The same holds true for Premier Pro. All of the software that is offered is geared to a specific application. Adobe is just trying to make a dent in the market by offering an all over package. Enough said…
We edit primarily on FCS3 but I use Adobe applications all day too. Yeah, Premier Pro has its place but not for everyone. I’ve used it a time or two myself. Its easier to do one off DV dubs, if needed. But that’s just me.
It’s not ONLY the tools that make money but skill, too. I, too, see lots of bad editing out there on every network but clients will get what they are willing to pay. If they want something for nothing, then maybe they’ll have to settle for not-so-good editing.
I think you hit the nail on the head, Walter… But, its a total combination that makes a shop profitable, including your output to tape or disc.
Keep in mind, people… These are just tools of the trade. Just like a good car mechanic, they could have thousands invested in tools, but if they can’t fix a car, what good are they?
_______________________________
Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
“No it’s not. It’s the artist and the facility that gets the clients. Put a lousy editor in an FCP suite and you’re not going to get any clients. Put a lousy editor in an Avid suite and you’re not going to get any clients. ”
I completely agree, but you’re talking about something completely different. I’m talking about FCP versus Premiere, not skill versus tech. It’s a completely different conversation.
I’m also talking about right now, the current market, the present, not the future. I work in advertising regularly for Sony and Adidas where all the producers and DP’s have FCP installed on their machines. In my market if I was editing using Premiere I wouldn’t be working. If you think you could gain more clients using Premiere rather than Avid or FCP right now, then you’re in a very special market.
To address one of your other points, I’m sure there are a lot of lousy Premiere editors out there too, probably a greater percentage than professional FCP and Avid editors. The reasons should be obvious, one of which is the fact that they probably don’t get nearly as much editing work than an FCP or Avid editor. I’m sure you’ll agree, time and experience have a lot to do with most editor’s skill.
Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
(Seriously though, that’s the name on the paycheck) -
“I doubt that was the case when the application was first introduced, the days when Avid and Media 100 ruled. I suspect the shops who adopted FCP early on got a lot of laughs.”
I was around during the transition so I remember when people started using FCP. When our film department at UCSC replaced Media 100, we started using the first edition of FCP.
On to my original point, and you have to admit, in the current market you’d lose some clients if you started advertising that you were using Premiere instead of FCP.
Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
(Seriously though, that’s the name on the paycheck)
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