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The Big Picture
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[Tim Kolb] “Media Management,
Networked workflow,
dual mono audio (a personal favorite of mine…I’m amazed this hasn’t caused an even louder outcry…)
More traditional bin management
Hot keys for everything, or at least macro capability
Time Remapping
Cut removal”You know, if you asked me to prioritize the above list, I’d have a hard time, though cut removal is pretty minor compared to the others. The point is, for most professional users, ALL of the above are essential, including fixing all the things that don’t work. I seriously doubt whether there’s be MUCH disagreement about this among us.
[Tim Kolb] “However, if there is a lack of a feature that makes PPro simply less useful to you than another system, I completely understand the necessity of switching. This isn’t a religon…it’s a tool.”
I don’t see a better alternative for me right now than Axio with PPro. I just hope it will become a lot better very soon.
David
AllinOneFilms.com -
I know the future of Western Civilization depends on this, so I will report back Monday evening.
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[Tim Kolb] “Bottom line is that anyone who contends they know what Ppro users in general, want…is speaking for themselves and whatever fraction of users find themselves in duplicate circumstances…and it’s always a smaller fraction of the whole than one might think.”
Tim, I think I’m typical of a small but growing group of editors who are trying to deal with Premiere as a pro editing tool. We are starting to use advanced HD editing engines like Axio, or ProspectHD on high performance dual/dual core workstations.
Many of us are used to more advanced editing tools than are currently in Premiere’s tool set. So naturally we are eager to see Adobe address our particular needs. But take it from me… “Try it, you’ll like it.”
Pardon me if I’m outspoken. I have a vision. Its that Adobe makes a major move to surpass FCP in it’s quest to redefine the NLE marketplace. For a company with the resources of Adobe, this is largely an executive decision.
I also think that users can play a role in the process by coming up with suggestions, and this forum is a great resource for that sort of thing. I also enjoy the input from visitors from the other forums.
The point I was trying to make in the last post is for some of us, its not as much about the money as about wanting to use the most powerful engines on the most powerful workstations that run on the world’s most common operating system – without spending a ridiculous amount of money on a a system that is obsolete before we buy it. We want to work with a suite of best of breed products that are highly integrated. Adobe gives us that hope… someday.
But we gotta go NOW, baby. Because our Edits and Media100s are dead, and HD is knockin’ on the door, and SD’s got about 2 years to live. So pardon me if I offer up a few lines of encouragement. Besides, I DO think it would be a smart business move for Adobe.
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It might be all over by then.
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[Eric Jurgenson] “It might be all over by then.”
Man, I am SO glad we can all keep a sense of humor about this…
TimK,
Kolb Syverson Communications,
Creative Cow Host,
2004-2005 NAB Post Production Conference
Premiere Pro Technical Chair,
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net -
Who says we were joking?
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Well that was a fun topic of conversation.
One thing is very clear from this; Europe is heading in a very different direction to the US, despite some take-up of FCP by the BBC, although this is more akin to the problems that the BBC have had with the Quantel systems they were rolling out.
It’s true that Media Management with Avid is streets ahead of PPro due in part to the rigid Project nature of PPro. Avid’s Media Manager is a fully searchable web-based system that searches across everything from clips, projects, workgroups, effects right through to audio files and anything uploaded from the users’ desktop. And they can all be dragged and dropped into any open bin. This is what the broadcasters needed and it’s Avid that provided the solution.
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[R. Hewitt] “One thing is very clear from this; Europe is heading in a very different direction to the US”
I’m sorry (and not trying to be contentious), but where in this thread was this made clear?
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Professional experience with major broadcasters in Europe – BBC (UK) excepted. And all the contracts Avid are winning over this side of the pond.
As I’ve said before, don’t get me wrong, I’m a very big fan of Premier but it’s lacking features/workflow and audio handling is what’s driving potential large buyers away. And that’s not to mention the lack of a proper support for the product.
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Features, workflow..yes. Audio is considered one of Premiere’s bright spots. Yes, conforming intrudes occasionally, and there is the lack of mono tracks (although the copy left and copy right filters effectively make the track mono, it would be nice to have a mono waveform displayed), and there is the weak metering, and the keyframing interface is clunky, and the pen tool is obnoxious, and there is no direct audio CD import, but other than that, it’s pretty good. Everybody loves Audition, too.
If you are purchasing a pro level system, you should be getting support from your dealer. If they can’t handle your problem directly, they have procedures for contacting the manufacturer.
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