How many post houses/production companies are using Premiere CC? (not CS6)

[Walter Biscardi]

Turner Broadcasting / CNN is moving to CC.

We move our entire operation to CC as soon as it started.

BBC moved to Premiere Pro two years now I believe, not sure if they followed over to CC or not.

Beyond that, it’s anyone’s guess. I would suggest you look through press releases on the Adobe website. They’re always pushing out stories on folks who are using PPro for productions. That’d be your best bet on getting a gauge on the adaptation of CC.

Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media

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[Greg Jones]

We’re a small shop, but we switched entirely over to Premiere Pro CC. We’ve edited 2 documentaries, 35 videos for Kennedy Space Center, and a whole slew of videos for Disney in the 2 years we’ve been using it. We’ve tried using Avid, then Final Cut Pro X, but keep coming back to Premiere.

Greg Jones
Orlando,Fl.
https://www.d7-inc.com

[Scott Clements]

Thanks, Walter. I’ve heard through the grapevine that the BBC never truly adopted Premiere (even the CS version). I’ve even heard they were simply given the Creative Suite by Adobe and that they never bought it. I don’t know if this is true or not, but I was always suspicious of the story myself. Unfortunately, the Adobe site would produce heavily biased stories. Also, the Creative Cloud masks the true usage of Premiere – because there are so many apps, there are no statistics of who’s using what. So, it’s very difficult to get an accurate picture of what’s going on.

Film Editor, London UK
http://www.scottclementseditor.com

[Scott Clements]

Thanks, Greg. Good to hear about first-hand accounts of usage.

Film Editor, London UK
http://www.scottclementseditor.com

[Chris Gunningham]

Post houses tend to be led by clients so if it’s offlined in premiere then it makes sense to online in premiere. This next release with direct link to speedgrade is potentially quite big, the appeal of staying within one suite of tools for the finish process is quite appealing and I think we will see more jobs completed with Premiere/Ae/Speedgrade. The jobs I’ve done have benefited from being able to work with high res media, enabling stabilisations and reframes without loss of quality in an HD timeline.

Chris Gunningham
Online/VFX Editor

Any opinions expressed are solely my own.

[Scott Clements]

Thanks, Chris. The integration factor is hugely appealing – it’s just the licensing that’s scary. Even if I were a post house manager I would be weary of it because of a lack of control. You can own Autodesk Smoke and that does everything.

Film Editor, London UK
http://www.scottclementseditor.com

[Don Hertz]

Scott,

We switched our entire facility from FCP and Avid to CC earlier this year and have been very happy with it so far. We have about 20 Creative Cloud seats and growing. We work on a variety of deadline intensive projects including commercials, television shows, and promo style graphics. We also have a VOD and QC department that processes shows created out of house at a rate of 20-30 shows a day. All are using Premiere, Audition, After Effects, and Photoshop to get the job done. The new captioning features in Premiere, in particular, have revolutionized how our QC and VOD departments process multiple versions of content for various distribution outlets.

CC has a nice admin interface that lets our IT department easily add new users, move licenses around, and control upgrades on individual user accounts (that way an overly eager employee can’t download the newest release and break our workflow until we’ve tested it ourselves).

Externally, we have over a hundred producers that send us television show and commercial content on a weekly basis. We’ve never done a formal survey to see who is using what system but based on my knowledge of the 20 or so that I check with on a regular basis I would guess that at least 60% are on Premiere, 25% still on FCP 7, 10% AVID, and the remaining 5% a mix of other things. I know we have at least one producer using Vegas. I haven’t come across anyone yet using FCP X, although I’m sure a few are out there and that group will grow as Apple continues to improve that package. We are a smaller network and many of our external producers are 3-10 person shops and in several cases the camera operators and directors are also the editors. That is most likely effecting the percentages noted above.

Good luck.

Don Hertz

[Kevin Reiner]

We are a small shop in Omaha. We switched to CC from FCP 7 a couple of months ago. So far I really like it (especially after they fixed all of the timeline foolishness). Most of the bigger houses around here that have more than one editor accessing the material are using Premiere. However, a lot of the DSLR shooters are using FCP X. I think FCP X works best for a one-man-band who is doing everything from capture to edit to color to VFX to audio. For me, Premiere kept my workflow very similar to what it was. My only main gripes are in exporting multiple sequences quickly and also the bug that I’m having when using my AJA cards with After Effects. They need to figure that out quickly, because its really impacting my workflow. That might be for another post and I’d love to hear if Walter Biscardi has any knowledge of it.

https://blogs.adobe.com/aftereffects/2013/08/solutions-for-problems-with-quicktime-files-in-after-effects-cc-12-0-because-of-conflict-with-dvcprohdvideoout-quicktime-component.html

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[Scott Clements]

Thanks, guys.

Film Editor, London UK
http://www.scottclementseditor.com

[Alex Udell]

Hiya…

I have more or less migrated the TV department of our agency to CC.

However, I will qualify that by saying most of our spot work is built as motion Gfx work not traditional editorial. So it’s just easier to start and finish in AE or Apple Motion.

I wanted AE as a primary tool for better access to a talent pool and depth of toolset. We are LOVING Element 3d from Video Copilot.

The good news for us is that based on annual CC agreements and the tiny price point of Apple Motion 5 we can afford to have both around for our group.

We have not, and have no intention of moving to FCPX. For the editorial we do, usually offline for motion gfx work, PPro is perfect. I’ve had several years on both PPro and FCP 6 & 7, and with the most recent updates….I pretty much don’t even have to think about it when hacking away in PPro. Not just painless, but with native format support…even better.

Hope that helps….

Alex Udell
Editing, Motion Graphics, and Visual FX