What are you thinking about CS6?

[Jeremy Garchow]

I’ve been lucky enough to get a peek at it, too.

Adobe has done an awesome job.

With further integration of Speedgrade, and better conforming/relink (media management), along with more XMP control, it will truly be top notch. It could stand to use a DI codec as well, but maybe that will come later.

The interface, while not quite “perfect”, has come a long way. I know they have worked very hard on it.

Dynamic LInk to AE is really truly great. It’s like having the power of AE and all that entails connected directly to your NLE (because…youknow…it is connected to the NLE). If you know and use AE, it’s truly the crown jewel.

Curious, David Lawrence. What kind of footage are you playing back?

Jeremy

[Chris Harlan]

[Simon Ubsdell] “I’d be very interested to know if your neck of the Universe is starting to make audible noises about actually using it, though.
“

Yes, I’m hearing a few things here and there–some of them substantial–but all still speculation and not quite commitment yet. Still, FAR more in the last four or five months than I have heard in the entire history of Premiere until then. The maturity of the product, the low level of investment, and the void being left by 7 may actually make the difference this time around. The advantage that Avid has in this market, though, are the number of shows that post around Unity. And in general, Avid is probably the big winner in this town. But, there is definitely a hole in the promo world that Premiere might be perfect for.

[Frank Gothmann]

Preordered and excited!

——
“You also agree that you will not use these products for… the development, design, manufacture or production of nuclear, missiles, or chemical or biological weapons.”
iTunes End User Licence Agreement

[David Lawrence]

[Jeremy Garchow] “Curious, David Lawrence. What kind of footage are you playing back?”

Nothing too aggressive — ProRes 422, XDCAM EX, and H.264, the kind of stuff I normally work with day-to-day. I have the same 4K Red sample footage as my bro and will fool around with it later today. His machine is a couple years newer than mine. He says he was playing full 4K source files, but at 1/8 resolution.

For my ProRes test I used this guide to set up an end-to-end workflow and was happy with the result:

https://blogs.adobe.com/VideoRoad/2011/08/a-prores-workflow-end-to-end.html

[Jeremy Garchow] “It could stand to use a DI codec as well, but maybe that will come later.”

Very true. I’m told they’re well aware so hopefully we’ll see something soon.

_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl

[Chris Harlan]

Yes, I would definitely like to hear what anyone has to say about audio handling.

[Simon Ubsdell]

[Chris Harlan] “Yes, I’m hearing a few things here and there–some of them substantial–but all still speculation and not quite commitment yet.”

Thanks a lot, Chris. That’s very useful to hear.

My experience this side of the pond is very much that Media Composer is for the moment taking up any slack in the FCP7 market at least in terms of the feature film world. I’d be surprised if any feature was posted on Premiere for another year at least over here – but you never know. CS6 is certainly looking the business.

Simon Ubsdell
http://www.tokyo-uk.com

[Lance Bachelder]

Audio is MUCH improved and you can now have mono and stereo tracks without the goofy separation of earlier versions. Mixer is new and much like Audition though I didn’t get to try sending mix to Audition yet.

Lance Bachelder
Writer, Editor, Director
Irvine, California

[Chris Harlan]

[Simon Ubsdell] “My experience this side of the pond is very much that Media Composer is for the moment taking up any slack in the FCP7 market at least in terms of the feature film world. I’d be surprised if any feature was posted on Premiere for another year at least over here – but you never know. CS6 is certainly looking the business.
“

In general, I would say that’s whats happening here in LA too, in relation to Avid. And promo shops that are Avid shops will remain that way. Where Premiere is having impact is in old FCP areas that are adjacent to heavy AE. This is where the movement is.

[Chris Harlan]

[Lance Bachelder] “Audio is MUCH improved and you can now have mono and stereo tracks without the goofy separation of earlier versions. Mixer is new and much like Audition though I didn’t get to try sending mix to Audition yet.
“

Cool!

[Jeremy Garchow]

[Chris Harlan] “Yes, I would definitely like to hear what anyone has to say about audio handling.”

What do you want to know?

As with Cs 5.5, the mixer only works on a track level, not on a clip level.

So if you do real time mixes with the mixer, then move anything in the timeline, the adjustments stay with the timing of the track, not with the individual clips.

It does have an awesome track based bussing/submix system (something I have missed since my Media100 days), and the multichannel export is improved.

There is also a new “adaptive” track which means that you can have stereo, mono, and surround clips on one track if that’s helpful to you. if you want to keep things like FCP, I’d suggest working in mono tracks, with perhaps some stereo tracks for music.

Here’s a good solid rundown:

https://www.retooled.net/?p=314

https://www.retooled.net/?p=317

Jeremy