Moving to Premiere

[Michael Phillips]

I haven’t made the transition, but I do have the entire CC suite on my system. If you need any three applications in your workflow, the it makes sense to have the entire suite anyway. Most dedicated videos editors will most likely have Photoshop and After Effects needs anyway, so one more makes the monthly subscription for the entire suite a better deal. I have found myself using Illustrator, the full version of Adobe Acrobat (for notes and form making), and the other tools more often than I thought I would.

That being said, I have also kept an eye on Premiere as there is a lot to like about it and each release adds a lot of nice functionality all around. I have done short pieces with it, but as I work mainly in features, I have not made the transition as a lot of workflow day to day stuff is still easier to manage in Media Composer. But it is getting closer – the performance and size/quality of the monitors are very appealing to me for starters. They have almost all of MC’s trim, just a difference on how and when they are accessed which is the muscle memory part.

My two cents.

Michael

[Oliver Peters]

I freelance and work quite a bit at locations that have made the transition. It’s an easier change for FCP7 editors than for MC editors, but overall, not daunting. The timeline is very responsive and it deals with a mishmash of formats better than most other NLEs.

A couple of things to remember as you start to work with it. You must correctly configure source audio tracks before you edit them to the timeline. Second, remember that track assignments are source-based, so the left buttons control what is edited to the sequence. The right buttons control extracts. There are a lot of right-click contextual menus depending on what you have selected. Premiere seems to be more finicky with external hardware than FCP or MC. Integration with AE, SpeedGrade and Audition is superb.

Also it natively works with DNxHD in an MOV wrapper, so that’s good for cross-platform and cross-application interoperability.

Oliver

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

[Michael Phillips]

It also works with DNxHD in an MXF wrapper when exported out as OP1A (File menu/AMA export). It can also play back the file directly from the Avid MediaFiles folder, but does not yet associate picture with sound when they are in separate files.

Michael

[Mark Panik]

I feel that the Mercury Engine is technically amazing. It will play almost any codec/resolution/frame rate in realtime with little to no problems. It really cuts down on the time needed to transcode mass amounts of media. For that, it’s truly revolutionary and big leap forward. But personally, I think the interface is a bit clunky and I don’t feel it’s the most fluid platform to edit on. But maybe I just need to dedicate more time to using it.

The best thing I found to help the transition was that you can load a different keyboard from Avid or Final Cut and all of the shortcuts are the same. Finding that was a BIG help 🙂

Thanks!

Mark
https://dontpanik.tv
https://www.facebook.tv/DontPanikTV
https://socialyze.media

[Kevin Rag]

I’ve just made the transition from FCP 7 to FCP X and PrPro CC2014 (still on the trial version). I like both NLEs. PrPro is easy to jump in, I can cut a project without any tutorials. But, tutorials do help a lot. It plays well with my BlackMagic I/O. I use PrPro for one particular workflow that I use for a big client of mine, for the rest FCP X. I hardly use AE, use Motion 5 for most MoGfx. I am beginning to like Prpro a lot. Will definitely buy the subscription soon:)

Kannan Raghavan
The Big Toad Films Pte. Ltd.

[Oliver Peters]

[Kannan Raghavan] ” It plays well with my BlackMagic I/O”

Just bear in mind that BMD I/Os do not work with SpeedGrade yet. While this may not be an issue in your workflow, it’s something to be mindful of.

– Oliver

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