Premiere Pro – I could be convinced!

[Dennis Radeke]

[Alex Hawkins] “6) The RT audio mixing really needs to stay with the clips and not the tracks.”

Probably the #1 FCP oriented feature request still remaining to be done by us post-CS6. We are well aware of this issue and request.

File a feature request on the other one. 😉

[Dennis Radeke]

[Alex Hawkins] “PPro is just totally lacking in the whole transition effect area IMO”

Agreed but as stated earlier, we are working on it.

https://www.filmimpact.net/
https://www.idustrialrevolution.com/

Here are two that are doing it as transitions today and a lot of others are working on it. I think we’ll get there.

Dennis

[Herb Sevush]

My problem with the Cloud concept is what happens if you stop subscribing? Will I still be able to go back and open a 2 year old project if I haven’t subscribed fro a year? I can open my 9 year old version of PPro 1.5 and re-edit and old doc I did on it anytime I want – is that possible if I get a cloud subscription and then stop subscribing for any length of time?

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Bernhard G.]

Hello Dennis,

Thank You for Your reply!

[Dennis Radeke] “We’d rather you be mad at us for having to change the text file than not offer GPU support at all.”

I’m not mad at Adobe 🙂
I appreciate that Adobe enabled this to get other GPUs running.
Also, Thank You for the detailed explanation!

My point is: BMD Resolve shows, there is also an alternate (and very elegant) model to handle this issue: Self-responsibility of the users by warning and informing them.

[Dennis Radeke] “We’ve done a lot of the ‘boring’ stuff already”

I see that and CS6 was a huge step – no doubts.
But for me, the feature Motion-Compensated De-Interlacing has become an indicator on how far I can rely on PP in a workflow.

[Dennis Radeke] “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).”

But on the long run those icons should disappear so I don’t need to filter for filters at all.
The less I need to take care of those things, the more creative I could be 🙂

[Dennis Radeke] “Spine-masks – YES! I’m with you 100% on that one and I’ve asked for it for ages.”

Very glad to hear!

[Dennis Radeke] “we are working on better integration with Speedgrade for the future”

Recently I read an interview with Adobe’s Patrick J. Palmer (Speedgrade) and I do very appreciate what he said; that Adobe also takes care of the ‘One-Man-Bands’ who don’t have the time for being specialists. At least I do see the necessity being a ‘One-Man-Band’ more and more emerging.

Thank You for listening!

Best regards,
Bernhard

[Dennis Radeke]

Hi Herb,

Subscription is all that you think that it is. If you do not continue with your subscription, the functionality of the products ceases. You wouldn’t expect your cell phone to still work free of charge after you cancelled the contract would you? It’s much the same, but I totally understand your concerns. Some people just prefer to pay more to have a ‘perpetual’ license of the software. But you are definitely paying more: so if you’re a business, it makes sense to consider a subscription. You get a couple of benefits – it’s a predictable cost, you can write it off on taxes as a legit business expense, you will automatically get upgrades when new versions become available and you get a growing list of services from the Creative Cloud.

Hope this helps,
Dennis

[Dave Jenkins]

We should be able to change 2 Mono to Stereo and vice versa. Sure I could learn how to work around this shortcoming but I shouldn’t have to. If a client says he want this at the end of an edit, what do I say? Sorry I need to rebuild the audio portion of the program.

[Dennis Radeke] “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.”

Dajen Productions, Santa Barbara, CA
MacPro 3.2GHz Quad Core – AJA Kona LHe+
FCS 3 OS X 10.7.4
FCP X, Adobe CS6, Logic Pro, Squeeze, Filemaker 10.8.2

[Chris Harlan]

[Dave Jenkins] “We should be able to change 2 Mono to Stereo and vice versa. Sure I could learn how to work around this shortcoming but I shouldn’t have to. If a client says he want this at the end of an edit, what do I say? Sorry I need to rebuild the audio portion of the program.”

I’m sorry if I misunderstand, but isn’t it simply a matter of panning your clips?

[Chris Harlan]

[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.
“

I went with Red so that I could have a seamless experience between MC and Pr, but popping in and out of the Red interface is a wee bit of a hassle–not terrible, mind you, but sometimes a bit of overkill. I’d sure like to see Continuum transitions work in a less awkward, non-layered manner–is this something Boris has the power to do now, but hasn’t yet implemented? Or is there something on the Adobe side that still needs a bit of tinkering?

[Richard Cardonna]

Glad to here about the cost.

For me the cloud does not offer much I only use production premium and only encore.A/E, on location prelude and audition. So all the other programs while great are of no use to me. Besides I edit mostly my projects and sometimes there could be a span of months between them.

Thanks for your reply

Richard C.

[Dennis Radeke]

[Bernhard Grininger] “But for me, the feature Motion-Compensated De-Interlacing has become an indicator on how far I can rely on PP in a workflow.”

Can you give me some more details on exactly what you expect here?

Thanks,
Dennis