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So who is the best candidate?
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Adam , I was saying the same – you can not compare AE and Nuke. AE is industry standard in motion graphics as Nuke is industry standard in VFX, so you can not define it as “mid-level” product.
Completely different tools, so we agree on that.
With 3D situation is even more complex and I don’t think you can find one movie when only one package is used. I don’t even want to start about proprietary tools behind Maya UI (for example). Anyway, this has nothing to do with this topic.
Bottom line is:
– If you want to edit native you go with Premiere (AMA is not quite there)
– If you don’t mind transcoding and you want best media management, you’ll choose Avid
– if you want multiple editors working and sharing the same project, again Avid
– if AE, PS, AI are important part of your workflow – Premiere
– for VFX (Nuke), you are always sending DPX or TIFF files (uncompressed file sequence), both can do thatFinishing / CC is a bit longer story (probably too long for this post), but you can send EDL / AAF from both applications. Question is what formats finishing/CC application supports.
At the end of a day both applications will get you there -
Premiere Pro imports and exports XML, AAF and OMF. Let me know if you have any trouble with any of these in your chosen application. As far as specifics go, I have not tested integration with these other apps but will look into it if you like. I do know that RED users overwhelmingly prefer Premiere Pro.
Kevin Monahan
Sr. Content and Community Lead
Adobe After Effects
Adobe Premiere Pro
Adobe Systems, Inc.
Follow Me on Twitter! -
Please let me weigh in here for a minute – After Effects CS5 comes with a plugin called Color Finesse. It’s a full-featured color grading solution which some say rivals Apple’s Color. Check out this overview on the Cow:
While I’ve never used Color, I have used Color Finesse, and I find it up to the job on any color correction I’ve needed to do. Good luck with your decisions, and one thing I do know is that Adobe listens to its’ users.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Thanks for the suggestion. I actually know Color Finesse and one of the things that I always missed in it was power windows. I absolutely need power windows. Unless they have just added that but as I remember it never had it.
Also, does it even have color keys and tracking?I will check the link you suggested too.
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I thought RED users preferred FCP as even RED themselves seemed to have some relationship with Apple and FCP was the first to support them. But maybe this changed.
What I’m wondering is what will be of the Baselight plug-in for FCP now. Probably DOA. -
[David Cherniack]The only reasons it’s failed to move into a lot of high end post facilities are inertia, ignorance of it’s new capabilities, and a shortage of a complete third party ecosystem, that have had the time to develop around Avid and the ‘late’ FCP, that make it unsuitable for some uses. The last has been slow to change, however, but will probably accelerate greatly as people start moving from kicking its tires to taking it out for a test drive.
Hi David. And there probably lies my problem with premiere. 🙁
Premiere has been around for longer than FCP and yet FCP managed to gather that ecosystem but premiere never did. This is what worries me about moving to premiere.
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Oh yes, and anything you can add about the integration with these other apps please feel free to do so. So if you have the time to look into it it would be great! Thanks.
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Hi Ivan!
You’re absolutely right. It’s much more productive to focus on the topic in question. 🙂– If you want to edit native you go with Premiere (AMA is not quite there)
By AMA did you mean AMC (Avid Media Composer)? If so can’t avid edit DPX natively? Or you have to convert to DNxHD? What about XDCAM, DSLR, TIFFs and maybe even Open EXR? What about Cineform and RED?
– If you don’t mind transcoding and you want best media management, you’ll choose AvidGiven that I work mainly with long form and narrative media management is a MUST. So Premiere’s media management still sucks at CS5?
How much transcoding are we talking about in Avid?– if you want multiple editors working and sharing the same project, again Avid
This is sometimes required. But not all the time. But it’s definitely a plus.
– if AE, PS, AI are important part of your workflow – Premiere
Not at all. I do not have and have no intention of buying or using any of that. With the exception of Photoshop but when I need I have a guy who works on it for me. But I guess any program these days can work with PSD layers.
Nuke and Fusion can so the chances that I would have to directly work with them is low. They would come to me inside a compositing and already in DPX or TIFFs.– for VFX (Nuke), you are always sending DPX or TIFF files (uncompressed file sequence), both can do that
Great!
Finishing / CC is a bit longer story (probably too long for this post), but you can send EDL / AAF from both applications. Question is what formats finishing/CC application supports.
At the end of a day both applications will get you thereNo,no. Not too long at all for this thread. 😉
A very important consideration.
So please do elaborate if you can.Thanks!
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[Adam Claude Jones] “Premiere has been around for longer than FCP and yet FCP managed to gather that ecosystem but premiere never did. This is what worries me about moving to premiere.”
Adam, this shows a lack of knowledge about Premiere’s history. In its present incarnation it’s been around for a lot less time than FCP.
Premiere Pro was a 2003 total re-write of the Premiere Randy Ubilos wrote in 1993 that was used mostly by amateurs. The re-write was done inside Adobe. Versions 1 through 4 were 32 bit and suffered for memory shortage, especially when used with IO drivers. It was difficult to use in a broadcast environment. Few did.
Version 5 (2010) was a re-write for 64 bits that suddenly turned it into a stable speed demon that could playback just about any native codec thrown at it. It was really version 1 in the same way that FCP-X is version 1 but Adobe kept continuity with the past, and post facilities began taking a serious look at it. Some like the BBC began using it. But with FCP’s enntrenchment and all the iron invested in the FCP eco-system, there was a reluctance of most to switch, even though in terms of raw performance it was clearly way ahead. Now, that’s likely to change.
So just in terms of the time that Premiere Pro’s been on the market, at most it’s about 5 years less than FCP and really, in terms of a viable candidate for higher end pros to switch to, it’s about a year old. At NAB they released a fairly strong update to 5.5
You can read all about Adobe’s vision of the future for Premiere and the video apps:
https://tv.adobe.com/watch/industry-trends/adobes-vision-for-professional-video/
Jim Guerard, of the Pro video division lays it out very clearly what their intentions are. They want to be right up there leading the market. I have no idea whether they’ll succeed but as a user since 2005 I’ve seen a radical shift in their approach over the last couple of years that leads me to believe they’re going to give it their best shot.
David
AllinOneFilms.com -
Actually I was in contact with the British folks that make Baselight and it sounds like they are reevaluating their expectation of sales for FCP X and considering developing for NLEs that pros are gravitating toward.
Tom Daigon
Avid DS / FCP / After Effects Editor
http://www.hdshotsandcuts.com
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