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Premiere Pro – I could be convinced!
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Look – I can’t be left the only one writing insane rants. That’s not on.
re: premiere – I just literally got it from the horses mouth that an extremely large editing and post services provider has *finally* decided on their next editing system post FCP. They extensively tested FCPX before beginning testing PPro, and they have decided they are going premiere. This will probably have pretty large knock on effects in London for commercial, corporate – a whole bunch of stuff.
Between this and associated press, I think that’s pretty likely the other shoe dropping, in London terms at any rate. The guys who were Avid are going back to Avid, everyone else who was FCP is probably going to be drawn into premiere now. Given the scale of the company involved, its a massive vote of confidence – i think a lot of people will very likely follow it as professional guidance, given that the group involved have been pretty minutely road testing the software in a variety of workflows.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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As I mentioned, no more .5 releases, ever. Let’s just say that CS5.5 was a bust for Adobe, and they will not be repeating that again.
David Roth Weiss
ProMax Systems
Burbank
DRW@ProMax.comSales | Integration | Support
David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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I’m doing a job this weekend with FCP 7 for a client that’s got 100’s of hours of repeatable projects and can’t upgrade…this after spending months on Premiere CS 6 —
It’s painful going back to FCP….hours of render time — transcoding, rerendering.
Premiere CS 6 – once you get used to some of the differences..is a joy
no rendering while edit
throw everything AND the kitchen sink in a timeline – no problem
quick
intuitiveYes there are some issues they will certainly address in CS7 (audio mixing, media management)
Yes it needs a more robust set of plugins – but developers are katching up)
And yes if you’ve worked with FCP legacy – you can easily make the switch without skipping a beat —
Andy Field
FieldVision Productions
N. Bethesda, Maryland 20852 -
[Steve Connor] ” I’m not stupid enough to ignore other options. I’ve been experimenting with PPro over the last few months and I’m very impressed. “
In my market (cen Fl) the majority of pro editing folks moving away from FCP are going to PPro. No one is using X, except my own experimentation. A few folks are going Media Composer, but around here, even some of the Avid editors are getting very friendly with PPro.
[Steve Connor] “also how is the XML out as we use Resolve extensively. Although I could be convinced by Speedgrade when Adobe hopefully sort out xml roundtripping with PPro.”
I haven’t tested XML to Resolve with anything complex. It works, but Premiere’s XML isn’t identical to FCP 7’s, so there may be some issues. Speedgrade is quite good, but you really have to get into how it is designed. Think Photoshop layers for grading, instead of Rooms in Color or Nodes in Resolve. Right now, Speedgrade isn’t yet very “Adobe-ized” as they only had about 6 months to figure out how to bolt it into CS6 in this first version.
There is a “send to Speedgrade” function in Premiere, which renders intermediate DPX image sequences of the “flattened” timeline, before opening in Speedgrade. That’s for two reasons: 1) Premiere and Speedgrade do not yet work with all of the same native codecs; 2) DPX is the standard format of DI systems (Speedgrade’s heritage). I’m sure that will change.
As an FYI – the folks running Resolve on Linux also prefer EDLs and linked media (not AAFs or XMLs) as well (Speedgrade is fine with EDLs) precisely because EDLs work best for them.
The biggest Speedgrade issue is lack of video output through the same hardware as Premiere. It can display fullscreen to a second computer display, but is really designed to send SDI out through an SDI-equipped NVIDIA card, which Mac OS does not support. FWIW, Scratch works the same way.
As David has said, look towards NAB. There’ll be the next version of CS, which will likely have PPro improvements and better Speedgrade integration. Adobe will probably also show a real product version of Adobe Anywhere for collaborative editing.
As far as PPro and editing, for me there are a few issues that are still problematic.
1. You cannot open multiple projects at the same time.
2. You cannot modify audio channel configurations after the clip has been edited to the timeline. The source clips may be changed and then edited again to the timeline.
3. If you import a sequence from another project (like two editors working on the same project with mirrored media files), the import include a folder of master clips that correspond to the sequence. These are essentially duplicate master clips, but they cannot be deleted.
BUT… On the big PLUS side, PPro blows away FCP X in the performance with just about any complex third part effects filter. Magic Bullet Looks, Tiffen DFX, Sapphire, BCC, etc. They all perform better with Premiere than X. You can also “send to” a real audio program in Audition.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Richard Cardonna] “Would this mean that upgrades will cost double? $800.00.”
Why would a full upgrade cost more than a point release? I don’t think Adobe has ever done that.
Shawn
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[Oliver Peters] “As far as PPro and editing, for me there are a few issues that are still problematic.
1. You cannot open multiple projects at the same time.
2. You cannot modify audio channel configurations after the clip has been edited to the timeline. The source clips may be changed and then edited again to the timeline.
3. If you import a sequence from another project (like two editors working on the same project with mirrored media files), the import include a folder of master clips that correspond to the sequence. These are essentially duplicate master clips, but they cannot be deleted.
“I should add that the group I am referring to have had access to the current beta for a bit. That is really exactly all I know though.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[David Roth Weiss] “Although I’m not privy to any of the secret sauce Adobe is releasing in CS7, I do know they very much intend to wow the industry and to further position themselves as a real contender for professional editors.
FYI, I do have it on good authority that there will be no more .5 versions of any Adobe apps or suites ever again, and users will be able count on new releases at NAB every year for the forseeable future.
“David Roth Weiss strolling back in there.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Oliver Peters] “As far as PPro and editing, for me there are a few issues that are still problematic.
1. You cannot open multiple projects at the same time.
2. You cannot modify audio channel configurations after the clip has been edited to the timeline. The source clips may be changed and then edited again to the timeline.
3. If you import a sequence from another project (like two editors working on the same project with mirrored media files), the import include a folder of master clips that correspond to the sequence. These are essentially duplicate master clips, but they cannot be deleted.”
Other annoyances:
1) Clip marker behavior is inconsistant and barely usable on clips with linked media (video with linked dual source audio for example). A huge bummer because I use markers extensively for logging.
2) No match frame from a timeline clip loaded in the source monitor back into the timeline.
3) WYSI not WYG if you use maximum render quality and don’t have the right hardware. Lots of confusing variables.
4) XML import does not bring in clip volume levels.
I deal with the multiple project issue by creating a new master project, then importing the projects I want to access into that. I can then set up tabs for each imported project and their sequences. Not perfect, but it works well enough for now. Looking forward to something better.
Despite the gripes, that honey badger timeline, rock ‘n roll trim tools and overall stability and responsiveness has me hooked. I hope we see great new things in CS7 at NAM this year.
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David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl -
5) No soft edge wipe.
Alex Hawkins
Canberra, Australia -
Seriously though I’ve been using PPro since 1.5 and it’s still my NLE of choice. I’ve used FCP X on and off for nearly a year now and I just find it too frustrating. I can’t get past that magnetic timeline. Yes, yes I know use the position tool. yada yada yada. Too annoying.
Every time I re open PPro I feel like I’ve come home and this is where I belong. And over the last 8 years it’s just got better and better but I am very grateful to Apple for FCP X as I believe that has made people sit up and take notice of it, (for some actually opening it for the first time) and then realising, “hey, you know this ain’t half bad”. And of course then the migration of many from FCP 7 has only helped the cause.
6) The RT audio mixing really needs to stay with the clips and not the tracks.
PLUS
What would be great would be to have the old discreet edit* system of timeline modes. i.e. being able to switch your timeline between insert and overwrite. Thus getting double duty for keyboard commands. Their effect would depend on the timeline mode you were in. Lovely. I used to love that flexibility.
Editing a base? Beautiful. Whack your timeline in insert mode and away you go. Non destructive and simple. Overlaying a story bed or cutting to a time limit? Switch to overwrite and away you go.
Now I understand that we have keyboard functions that do all these things as a one by one operation and so some might say it’s a bit superfluous and hey, they may be right. But it would sure as hell be a great option to have.
Alex Hawkins
Canberra, Australia
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