ITV studios convenes meeting. basically tells attending avid editors to start using premiere.

[Michael Phillips]

It looks more to be an event hosted by ITV and Adobe than a corporate meeting announcing a change of platform and workflow. Not saying it may not eventually go that way, but it seemed to be a nicely done presentation of Adobe in a digital pipeline, the ability for third parties to build solution to integrate via the Adobe panel, and integration of Adobe products pertinent to video content creation.

As far as AS-11, I don’t see much difference in Adobe’s versus Media Composer’s export processes.

Something to keep an eye on to see what happens next. I an see some program groups or divisions making a change to ensure a smooth transition to whatever NLE they choose to use.

Michael

[Aindreas Gallagher]

Well, reading it, and the various presentations given by production companies shifting to premiere brought on stage to present to ITV’s own avid editors, it’s very hard not to read the ‘Production Modernisation programme’ as the ‘We’re Moving To Premiere’ programme? I take your point on transitions to NLE of choice, but really, it boils down to whether you stick with avid, or shift to premiere. Those are pretty much the available options. Everyone who was 7 – like BBC worldwide – is going premiere.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Michael Phillips]

I agree as to the goals of the presentation, at first I thought it as about an official move to Premiere but ended up being a step in that direction to show increased performance and feature set with the least amount of disruption. PPro seems to have become that safe ground where either FPC or MC editors move to, and there is less of a bulk transition from FCP to MC.

Michael

[Oliver Peters]

Ultimately the question Adobe has to answer with Premiere Pro is how well it deals with a wide range of media on large, long-form projects. So far all of the off-the-record comments I’ve heard are inconclusive. For some, things like very, lengthy relinking and missing media has been problematic. Others seem to sail through OK.

These issues equally plaque FCP X. Until that sort of thing is rock-solid, bulletproof, editors will only shift from Avid to Premiere if they really have to.

The most pain-free situations that I have been aware of, is when media is first transcoded and then locations are tightly controlled. That approach is an anathema to Premiere Pro’s design philosophy, so you end up having to go outside of Premiere to do this, possible using Prelude for a “pre-edit” transcode.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Kevin Monahan]

Hi Oliver,
If you run into customers that are needing advice for larger scale productions and pipelines or are having problems at all, feel free to contact me. I can put them in touch with the right people at Adobe if they don’t yet have a contact.

Thanks,
Kevin

Kevin Monahan
Support Product Manager—DVA
Adobe After Effects
Adobe Premiere Pro
Adobe
Follow Me on Twitter!

[Franz Bieberkopf]

[Kevin Monahan] “If you run into customers that are needing advice for larger scale productions and pipelines …”

Kevin,

Personally I just haven’t read or heard much about how robust the software is on a large project – by which I mean thousands of clips, hundreds of sequences, over many months.

Franz.

[Aindreas Gallagher]

David Fincher’s gone girl has to have more than a few clips in the edit process mind you.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Andrew Kimery]

[Aindreas Gallagher] “David Fincher’s gone girl has to have more than a few clips in the edit process mind you.”

He also has a lot of resources at his disposal. It could be like Murch and Cold Mountain. Yeah, FCP did the job but it took a small team of specialists to make it happen. 😉

I’m doing a feature doc on the side with CC and it’s my test bed to see how it does with large projects.

[Tim Wilson]

[Andrew Kimery] “Yeah, FCP did the job but it took a small team of specialists to make it happen. ;)”

And a workflow so complicated it took a book to explain it.

People keep talking about waiting for X’s “Cold Mountain Moment,” but I swear that that book may be the only thing that has kept Avid locked into Hollywood. It doesn’t matter that the story got better. No matter how much people hated Avid, they’d hate going through THAT.

(I was also amused by how many people at Avid had that book on their desks.)

I can’t wait for Fincher’s story though. I’ve never done work like his so I can’t imagine that it will be exactly applicable — which is why The Cold Mountain story didn’t do anything for me personally, one way or the other: I wasn’t shooting epics in Romania, and I didn’t have a team to manage my workflow. It didn’t scare me, but it didn’t excite me either.

Hearing Fincher’s story — THAT I’m excited about. (The movie, whatevs. LOL I’m sure it’ll be outstanding, but srsly. He’s always pushed things just a little further than they can actually be stretched, and pulls it off anyway. Even when his movies aren’t my favorites, he may be my favorite movie MAKER because of stuff like this….and I have no doubt that his use of PPro will be a cracking yarn. Bring it, baby!

[Oliver Peters]

[Kevin Monahan] “If you run into customers that are needing advice for larger scale productions and pipelines or are having problems at all, feel free to contact me. I can put them in touch with the right people at Adobe if they don’t yet have a contact.”

Thanks. I’ve passed along this offer to the appropriate folks.

Cheers,
Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com