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Forums Adobe Premiere Pro Mastering Premiere Pro — insurmountable bugs?

  • Mastering Premiere Pro — insurmountable bugs?

  • Karen Lee

    February 3, 2021 at 7:32 pm

    Hi, I’m mostly self-taught (internet) on PP, used for about 5 years now. At times I love it, it certainly is deep. On the other hand, it’s quite buggy at times and it’s not uncommon to spend 2-3 hours plunking around online trying to perform a function that ought to take a minute. I’ve used their tech support a few times and had the expert give me a “work around” or even have me dump and re-install the software.

    Question, is there a point where we get past this? Should I switch to Final Cut (and how much time is poured into learning FC coming from PP background)? Or do I need to take a class in PP so I can rise above this time consuming, never-ending learning curve?

    Thank you for your thoughts!

  • Jim Curtis

    February 3, 2021 at 7:42 pm

    I’ve been using Pr since CS 5.5 (and FCP7 and Avid before that). Most of the problems I have with Pr happen on big projects with lots of footage, and a combo of codecs, frame sizes, and frame rates.

    There are a few troubleshooting lists around for the steps we need to endure to get back in business and finish projects. One of them is uninstalling and reinstalling the app. That’s not as daunting for me since I got fiber internet.

    NLEs are one of the few apps that stress most of a computer’s resources. They’re very complicated, and the companies making them keep adding new features and accommodating new cameras and codecs, so expecting a bug-free NLE is a pretty big ask, no matter who makes it.

    Getting into post on computers requires a never-ending learning curve. We could have become plumbers and learned all we’d need to know in a few months. But, here we are. We’ve made our choice.

  • Robert Withers

    February 3, 2021 at 9:02 pm

    Thanks for the topic. I’m an underground/experimental filmmaker and I like to work on projects over time — not just to get them in and out the door. I hear you about the never-ending learning curve, but why should NLE-makers keep moving the goal posts and requiring different tactics and strategies? I got into Premiere after FCP7 was deprecated, but Apple and Premiere both relentliessly rewrite software while I’m working on a project, and I have to keep changing software, which doesn’t always update projects correctly. I’m hinking about FCPX but I don’t know what problems it may have. I tried Resolve but it seems very demanding on the machinery. People advised me to sell my new computer and buy stuff that was totally souped up to run Resolve. What about Media Composer ?

    Thanks for any ideas.

  • Jim Curtis

    February 3, 2021 at 11:36 pm

    Robert, the moving goalposts are due to competition, and as I wrote, new cameras and codecs that clients want to work with. Some people call that “progress.” If you want a stable system, find one that works for you, and never upgrade anything on it, and be prepared to exclude cutting with any codecs newer than what’s qualified for that system.

    FCPX used to, and maybe still does transcode everything to ProRes, which makes for a more stable and zippier system. The trade off is the time and drive space to dupe your media to a less efficient codec, and that you have to wait to start editing. A system that handles native footage lets you start cutting sooner. All the options have pluses and minuses.

    Since you asked about Media Composer, I don’t think of that as a viable option in a sole proprietor scenario. It’s strength is it’s workgroup capabilities. Adobe is still working on their workgroup implementation. I don’t use it, so I can’t say much about it. Avid used to transcode everything to OMFI, but they started implementing native when I bailed on it.

    Based on cost of entry, the best values are Resolve and FCPX.

  • Karen Lee

    February 4, 2021 at 2:22 pm

    Thank you for this thoughtful discussion, points well taken. Good to understand why the constant changes, e.g. new codecs. And that other NLE is similarly evolving and buggy.

    This phenom of ever-changing technology is happening more broadly — e.g. I often squander time (it feels like squandering) getting along with new versions of Mac OS, and trying to get upgraded Safari or Chrome to play nicely with web sites. Many of these are to make my internet secure and private, which I need… and Apple is generous with their tech support. It’s just the time, oy!

    My challenge hasn’t been in file size or speed. So far my projects are shorts in HD, not even 4K. Last bug that had me cursing the computer was, cross-dissolve would work at some transitions and not at others. I had a screen share with a PP rep and THEY couldn’t figure it out. Finally I found a workaround, can’t recall what. I suppose most editors charge this time but I’d feel uncomfortable doing this esp. with such a basic function.

    Bret, the FB group looks terrific and I’m in, thank you for this!

    As to MC, most I know who’ve tried it said it was arduous to learn and the capacity is not greater than FCP or PP. Think they’ve not used it for a group editing. I do know one person who learned it with relative ease, but he’s got an unusually high technical aptitude. I’m more intuitive so for now I’ll stick with PP. Probably get a different answer on different forums!

  • Jim Curtis

    February 4, 2021 at 2:42 pm

    What makes Pr the best choice for me is the Adobe product line. I work with agencies and large corporations, most of which are Adobe based. So, I get many assets: logos, stills, PSDs, Ai files, etc. I need to edit or use for video. I also do motion graphics based on corporate branding. Ae is a design tool, whereas some of the moGFX apps or utilities from other companies aren’t as well implemented.

    I have a friend who does nothing but cuts and dissolves mini-documentaries with simple titles and lower thirds he makes in the NLE. FCPX is all he needs, and all he will ever need.

    So, the type of work you do, or expect to do, should be a consideration as to which NLE is best for you. Another consideration is whether you’re a standalone operation, or expect to share the post load with audio mixers, colorists, SPFX artists, etc., as you need to be sure you’re all compatible and can share files and projects without jumping hoops or encountering roadblocks.

  • Oliver Peters

    February 6, 2021 at 10:24 pm

    Karen – Just to hit a couple of points that have been brought up.

    FCP (formerly X) is a great option, but an acquired taste. After an adjustment period, some people love it and others never adapt. There are plenty of “FCP for Premiere editors” YouTube videos. I think you can get a trial and check it out.

    Unfortunately there are a few things that you may need to buy to augment its capabilities, depending on your needs. However, there’s a large and growing ecosystem surrounding it. FCP does not transcode everything to ProRes. You can if you want to, but FCP handles many native media formats quite well. In fact, far better than Premiere.

    Media Composer is also powerful and no issues for an individual user. Like the ProRes issue, you do not need to transcode to Avid DNxHD/HR as in the past. You can work with “linked” media, though it’s not recommended by many editors.

    If all you’ve ever worked with is FCP (classic) or Premiere Pro, then MC, too, will take an adjustment period. There are, however, quite a few features that surpass FCP or Premiere, like built-in tracking. Other, like PhraseFind and ScriptSync are extra-cost options, but there is nothing comparable in any other NLE. To be sure, MC is more of a straight editing NLE and less of an all-in-one application.

  • Karen Lee

    February 8, 2021 at 6:12 pm

    Thanks, Oliver and Jim… more aspects to consider. 🙂

  • Tim Kolb

    February 13, 2021 at 4:48 pm

    The sometimes shy dissolve has been an issue for some number of versions. I’ve been a PPro user for…a while…and I still have difficulty duplicating it sufficiently to troubleshoot it. I use Macs and Windows machines daily and have run into this on certain occasions. I’ve found it to often show up on alpha graphics that you simply want to fade in/out on an upper V track.

    One thing I can recommend in recent versions…if something simply is inexplicably refusing to work…save the project. I find this often clears what appears to be some kind of limitation in working memory perhaps? (I have pretty big RAM machines and I allocate generously to Adobe…so it isn’t inherently limited there…but I do often have other apps open, etc. )

  • Ann Bens

    February 13, 2021 at 10:14 pm

    If you are having trouble with the cross dissolve turn of Composite in linear color in the Sequence settings.

    As for a better cross dissolve us this one:

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