Premiere Pro – I could be convinced!

[David Roth weiss]

[Chris Harlan] “David! Welcome back!”

Thanks Chris! Swing by ProMAX Burbank sometime soon. I’ll buy lunch.

DRW

David Roth Weiss
ProMax Systems
Burbank
DRW@ProMax.com

Sales | Integration | Support

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[Dennis Radeke]

Thanks Steve, love to hear your input.

I’ll try to answer some of the comments on the thread and see where it goes. Apologies if I repeat what someone else has already said…

Premiere Pro and Speedgrade integration – yes, definitely something we all want to see get done.
XML – we work to keep the workflow with Resolve going. I think we had a dot release in the CS5.5 timeframe specifically for XML fixes to the REsolve workflow. We want people to have choices and integration with other software and hardware.

Dennis – Adobe guy

[Dennis Radeke]

[Bernhard Grininger] “PP CS6 has some great special features and it benefits from the whole CS suite.
It’s consequent native format support it great! Because of this it is confusing, PP needs ‘render files’ at all. Mercury runs very well! Also confusing is the sequence setting by codec instead per video standard. I also get headache when I need to do rocket science to get full quality out of it (GPU yes/no, 32bit float yes/no, etc…) or hack my app for GPU support at all… WHY???

Too much of thinking…
Too many plugins and other CS-apps needed…”

I agree that sequence settings become somewhat superfluous because it doesn’t really matter what is on the timeline. Given that you don’t need to render until you’re ready to output a final, I don’t really worry much about preview renders. That said, if you do, it’s a simple matter of setting up your own custom sequence preset.

As for hacking for GPU – we want to be very careful about what we officially ‘white list’ because we a guaranteed experience. The fact that we’ve enabled people to find the ‘hack’ fairly easily and it works 99% of the time for any decent card is a bonus. Simply put – we want to make sure your experience is great and the GPU can be a variable. We’d rather you be mad at us for having to change the text file than not offer GPU support at all. Can we do better? Yes and we will.

[Bernhard Grininger] “To convince me, Adobe needs to implement all those boring features, no evangelist on this planet could convincingly praise as ‘awesome’, but that are extreme important for real professional workflows (100% 32bit float, motion-compensated de-interlacing, spline-masks, color-grading, etc…) so that 90% of work in 90% of the projects could be done within PP.”

We’ve done a lot of the ‘boring’ stuff already but there is always more. FCP7 keyboard shortcuts, change sequence preset to match first clip, basic editorial tasks like trimming and the list goes on. Most of our effects and process pipeline are 32 bit float already (just check out those icons to the right of many of the effects). Spine-masks – YES! I’m with you 100% on that one and I’ve asked for it for ages. There are workarounds and some free plugins, but yes… Color grading – we work with Resolve and others and we are working on better integration with Speedgrade for the future. I think we’re there and/or getting there.

[Dennis Radeke]

[David Roth Weiss] “Although I’m not privy to any of the secret sauce Adobe is releasing, I do know they very much intend to wow the industry and to further position themselves as a real contender for professional editors.”

On this I can agree and comment. Nothing else. 😉

[Dennis Radeke]

A Creative Cloud subscription model is a very good model for the vast majority of users out there and I think we’ll see more and more of the industry move that way. In fact, I saw Microsoft do the same with Office 365, which is a pretty good deal.

[Dennis Radeke]

[Richard Cardonna] “Would this mean that upgrades will cost double? $800.00.

Boy they want to push the cloud very much, and I don.t like it.”

Ric – Yes, we do push the cloud, no doubt about it. I tend to think of it as a win-win. You get more value, features and products and we get predictable business. I understand that there are many who are hesitant about going this direction, but as I said above (or below?!) I tend to think that most software will be going this way in the future.

Let me know what your specific problems with it are.

Dennis – Adobe guy

[Dennis Radeke]

No we won’t charge double….

[Dennis Radeke]

[Andy Field] “Yes it needs a more robust set of plugins – but developers are katching up)”

And we are working with our developers to help them make more plugins. Realistically, the issue is more transitions. This is something that can be done by plugin developers for some time but until recently they didn’t have as much incentive to do it.

[Dennis Radeke]

[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.”

1 – Yup, and we know it.
2 – I’m not a product manager, but I would think that this idea could easily get messy quickly. The audio engine Premiere Pro is powerful and I agree it requires a bit of know-how to set it up properly, but once you do, it should work and respond as you would expect. Changing how audio looks and represents in the timeline is problematic. If I wanted to change a clip with 8 mono audio clips to a single adaptive track – what do I do with the other tracks? what if there is other material on them, is it global to the sequence or just to the clip that I selected? I get your request, I’m just not sure how it could be handled cleanly.
3 – yup.

[Dennis Radeke]

Dave,

For the first three, I’d file feature requests with specifics. You can also email me privately to discuss.

For #4, this is a known bug. There is a workaround. Basically, if the audio has no keyframes in FCP, it brings the audio in at -infinity level. Add a single keyframe to your audio tracks and it should come in correctly. Yeah, it’s a hassle and I’m sorry.