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Walter Biscardi walks through PPro from an FCP perspective
https://www.biscardicreative.com/blog/2011/06/transition-2-fcp-workflow-in-adobe-premiere-pro/
it looks ok? I think, he said never ever having used it – it looks pretty close in the timeline, I can imagine using it and not freaking out basically – plus a lot of stuff is inherited from AE and I was AE before I was FCP, so that’s sort of fine..
Does anyone have any professional sort of key thoughts about premiere? How big a deal is the lack of a native HD codec stuff? How stable is she? As freelance I’m generally using whatever the facility give me or the thing on my lappie, that was FCP in both cases, but now, well I’m trying to figure it out but I think the designy, small london post places are going to go premiere aren’t they? I guess there’s going to be Avid too now. Oh for all my years as a smug little FCP head sticking my tongue out at premiere and avid, it almost serves me right that I now have to learn both.
thank God Avid have a free thirty day trial really – that’s me, the keyboard and a colostomy bag for a few weeks then.
I’ll say another thing – my lappie is three years old – I don’t actually think the next piece of hardware is going to be Apple. The one thing that irrevocably locked me to Apple was FCP. And really – who the hell knows whats happening with that OS three years down the line? Will we still see the file system? Walt Mossberg says Win8 is about as good as OSX so…. man this is a crazy week.
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
31 Replies
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PPRO and FCP (pre-X) are so similar, they feel like they were separated at birth. I went from PPRO to FCP without a hitch years ago. The only learning curve was learning the shortcuts and finding commands in the menus. There are a few different timeline behaviours, but you should get used to them easily. If you’ve mastered FCP, then mastering PPRO is going to take you no more than a week.
Just like Avid, Adobe offers a 30-day trial.
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Yeah, the timeline operation really does look pretty seriously similar, that’s all good.
Jeffrey Hazell isn’t totally down with it but nothing he says sounds like a deal breaker:
https://jefferyharrell.tumblr.com/post/6973003963/impressions-of-premiereWhat’s the deal with codecs tho? I read a guy giving out about adobe’s lack of a DNXHD or PRORES – Presuming that the R3D with h264 mixed format timeline isn’t always going to fly and I know it can’t encode prores stuff – what codec do you most often plunk for if you’re batch encoding a bunch of rushes? i’d happily whack out everything dvcproHD or whatever myself like a slob, I’m just curious what common practise is – Or does premiere really really not need to transcode?
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
I use Premiere on a daily basis (I started using it 1995), in multiple configurations, ranging from a laptop P2 editing setup, a software-only desktop, and an AJA Kona desktop for outputting TV spots/shows. All in Windows 7. On average, I’ll get an application crash once a month*. The performance can get sluggish, when I’m dealing with large bins (400+ clips), but it’s not as crippling as working in FCP, where I am forever staring at a beach ball in a project that size. Granted, when I use Premiere on a Mac, I see the same beach ball (I teach After Effects, Premiere, and FCP in a lab full of iMacs). To me, there is a very noticeable difference in performance, when comparing Premiere in Windows and OS X. YMMV. I stopped using FCP on a daily basis in 2007, and don’t miss it.
FYI, because Premiere is 64-bit, it is a RAM hog. Especially, if you use Dynamic Link. 6GB is fine for 8-bit short form stuff. If you’re editing features/docs, 18-24GB is what you should be aiming for.
*The AJA system acts weird on occasion, but a reboot fixes any issues I encounter. The KONA drivers have been forever buggy in Windows.
You must unlearn transcoding. it’s not necessary. If you’re outputting to tape, you’ll be rendering to whatever codec the hardware uses. Otherwise, an appropriate nVidia card will have everything playing in real-time. You also have the option of rendering all previews (thus transcoding) to various codecs (ranging from i-frame MPEG to DVCPROHD to uncompressed 210YUV.). In other words, you get to choose.
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The latest CS5 and 5.5 versions are a wonderful change from the past. As a former windows guy, I tried and used six or seven versions of Premiere, and hated them all. I recently had to return to the CS5 version for a project that required .flv output, and was stunned by great the new version was.
All the basics tools are there, and it ran faster than FC7 did on the same 2009 Mac Pro. I didn’t dig too deeply, but the integration with PS, AE, is obviously wonderful. It used my P2 files natively and playback was smooth and pretty.
Codecs are a puzzle for me still. I output old-school animation codec as intermediates since my files were short. Responses to Walter’s post suggest that Cineform is the way to go, but I haven’t dug into it.
Chris Walsh
http://www.musicfog.com
Silver Spring, MD
Final Cut & AVID MC5
Former Windows User and edit* lover -
nice one, that answers a few – I did notice that on their specs page they say PPRO will fly with only either 10.5.8 or 10.6.3 – that seemed quite specific so I was wondering how OSX was treating it. i’ve got a mate who can assemble good PC rigs, and really, if I’m not FCP anymore, and God knows Jeffrey Harrell has me convinced there – the blog posts are great, and you just sort of know the scale of the problem from his descriptions, oops nearly went into a rant there –
But if I’m not FCP anymore then that removes my absolute need for OSX, and I’m not sure I trust that operating system at this point either. What if Open CL starts to grow weeds? what if they become more focused on hiding the file system from casual users and forget all about grand central – you know?I’ve still got the 2008 MBP lappie with FCP7 – so that’s fine, rock solid, nice RAM upgrade in her – that just sits there ready to go until FCP fades away – but I actually really do think it makes more sense at this point to go PC at this point. And I can’t believe I’m typing that. I can get a RAM maxed rig for half the price of a mac tower. And windows 7 is pretty much fine right? man this is crazy, i can’t believe apple tipped the table over like this.
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
Cheers bud, i’ll check out the cineform thing
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
What’s the multicam like in PP and AvidMC? All I can find on PP appears to max out at 4angles. Sports/performance I tend to use at least 8 and as many as 12.
Thats why I came to FCP….
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Chris is right, you need to unlearn Transcoding. If you work with tape, you might find yourself in need of a capture codec, but everything is native. That’s just the way it works.
I just did a test on my windows CS5.5 system.
I was able to stack three layers of 4.5K red RAW with transparency before I started dropping frames at 1/2 playback resolution (which is still about 3K) at 1/4 resolution playback (1080p) I got to 8 layers and then decided my time would be better spent writing this.
I have
3.33 GHz 6 Core i7
24GB RAM
nVidia GTX 480 (not officially supported, but one little text file rewrite and it works) -
This makes me feel better. Premiere was the first NLE i used on the Mac in 1995, prior to that using only tools on an Amiga before that whole scene blew up. I soon switched to Media 100, but missed a few features already available in Premiere at that time, nesting clips being a big one, I remember thinking how could M100 have left that feature out. Got into FCP in 2000 and haven’t looked back, though use both AE and Photoshop extensively. Have heard good things about PPro for a while now, but did not want to bother with it. Until now, that is. It’s funny, this little vid by Walter makes me think I should have switched earlier. Now to see how my Kona cards and the whole capturing system will work, anybody have experience with this yet?
Jim Carey
Director of Video, Radical Entertainment
linkedin: https://ca.linkedin.com/in/jcarey256
mobygames: https://www.mobygames.com/developer/sheet/view/developerId,17212/ -
Guys, there are many possible workflows with PP…. and intermediate codec is not such a big issue.
Before considering any workflow, have one thing in mind: ProRes, DNxHD, Cineform are all VISUALLY lossless codecs, not MATHEMATICALLY lossless.
Because of that:
– Native editing should be your first choice. Especially because PP deal with the image information at the 32 bit float level.
– Next best option is offline – online. For example create PhotoJPG 960×540 proxy files, edit, swap with original files when you are done.
– Intermediate. Actually in PP you can choose your intermediate codec. It can be ProRes, DNxHD, Cineform. For some tasks even AVCINTRA 100 (that you can export from Media Encoder) will do the job.
I agree that Adobe should release their own intermediate codec that will be super fast with Mercury Engine.
Of course I could go much deeper in explanation of possible workflows, but I just wanted to illustrate some options.https://twitter.com/#!/disample_dcc
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