NAB 2014 : What to expect from Adobe

[Alex Udell]

Yep….it’s the annual Santa Claus preview week coming up!!

I’m super excited….as always!

Wish I could go! NAB is always such a great time!

I don’t even know what I’d look for to ask!

I’d like to see where “Anywhere” is going for both PPro and AE.

I’d like to see some “transcode for consolidation” options inside Pro or via integration with AME built into Project Manager.

I’d like Bridge promoted and explained properly for video pros. 🙂

I bet we’ll see Cinema 4d integration improved…

Alex Udell
Editing, Motion Graphics, and Visual FX

[Walter Biscardi]

I would not expect any huge bombshells, just continued improvement in workflows and even better under the hood data management.

The one big thing I would love to see would be an Adobe Anywhere solution for in-house use only where we could share projects / have the same projects open in multiple edit suites. Right now Anywhere starts in the six figures and goes up from there. We’re a small shop with shared storage. ALL we need is the ability to have two or more editors work on the same project, I don’t need the “edit across the cloud for six figures of your budget” solution.

I’d also love to see Transcode / Consolidate come along for the end of a project. Been asking for that one for two years now and hopefully it’ll come along soon.

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

Craft and Career Advice & Training from real Working Creative Professionals

Blog Twitter Facebook

[Chris Borjis]

I would like to see the video scopes in SpeedGrade completely replaced
with the much more useable scopes currently present in Adobe On Location.

Would be great if premiere had them as well…one consistent set of useable scopes

Several of us users have filed a request for it.

[Paul Neumann]

I’m with Alex on Bridge. Would like to see the same kind of push given to Prelude as well. And while they’re at it share a bunch of the functionality of Prelude with Bridge and Bridge with Prelude.

[Dustin Parsons]

[Alex Udell] “I’d like Bridge promoted and explained properly for video pros. :)”

Agreed. I know it exist but haven’t found it to be more useful than the Finder which is what it’s supposed to replace right?

[Brad Davis]

I’d like to see improvements on audio management. It’s better than the original release but still not correct.

[José luis Martínez díaz]

I’d go for better consolidate and transcode options, and a working roundtripping between premiere and speedgrade. Also, my personal requests would go for support Avid Mc Color surface and decklink within speedgrade.

J

[Chris Borjis]

[José Luis Martínez Díaz] “decklink within speedgrade.”

yes please!

I haven’t had any round tripping issues going from premiere cc (MAC) to speedgrade
then back to premiere, but it’s all been basic HD broadcast color correction, not too fancy
with masks and such.

I forgot to add, I’d like AME to export seperate .wav or .aif files
instead of interleaved ones when I have a stereo track and surround sound
stems in a sequence.

[Ryan Holmes]

[walter biscardi] “I’d also love to see Transcode / Consolidate come along for the end of a project. Been asking for that one for two years now and hopefully it’ll come along soon.”

[Chris Borjis] “Would be great if premiere had them as well…one consistent set of useable scopes”

+1 for each of these. But I think Walter’s right that Adobe won’t unveil any bombshells. The move to the subscription model means they don’t have to hit these arbitrary show deadlines in order to drum up orders for the next version. Adobe will release the next .X update as it’s built out. However, I’d expect them to tease some upcoming features while at NAB.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Paul Thurston]

Here’s what I hope to hear:
-All FX accelerated by GPU cards.
-SMPTE wipes that have at least 1024 variable positions.
-Waveform, Vectorscope, and Program Out, concurrently on the GUI.
-Confidence dialogue box that tells us the bit depth we work at. (8-bit, 10-bit, 12-bit, or 16-bit)
-Digital Cinema Package generated from the timeline.
-All image items should have PROC AMP fx turned on by default.
-A fade transition fx that is not linear but logarithmic.

———————————————–
Paul Thurston
Producer
Chile