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What are you thinking about CS6?
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Will try to provide some answers and start at the top…
Dave Lawrence – thank you for such gracious words. We strive to gain and keep people’s trust.
Franz – “How is it for audio, particularly mixing?”As others pointed out, we are a track based mixer as opposed to a clip based mixer. We do understand that many FCP and Avid people want a clip mixer and we will see what happens. That aside, the audio capabilities of Premiere Pro are pretty good and much more advanced than other tools in many ways. submix, inserts & sends, and some solid post automation including touch and latch are a couple of the things I like.
As for audio handling, I really like to think that with this release we have taken a leadership position. We’ve always been able to handle unlimited tracks, but now we’re handling multi-channel audio much more effectively. For example, I can handle 8-trk AVC-Intra clips and express the audio in ANY way I want – 4 stereo, 8 mono, single 8-track wave or any combination. Same on output. Really happy about that one. It’s a bit complicated to grasp at first, but once you get it, it’s really super.
Lance – Audio + Audition
round trip behavior between Audition and PRemiere Pro remains the same which is pretty good. Audition got a bunch of cool features including our auto dialog alignment tool which is great for ADR.
Chris Harlan on clip volume
Yes, you have clip based adjustments available on the clip itself in the timeline. Not quite the same as a clip-based mixer, but not awful.
Adobe moving into the high-end
I’ve replied in other threads. Will summarize by saying we are making significant strides and seek to win the trust of Hollywood and other film makers. We’re in deeply in broadcast and growing that now.
Walter “One thing I’d mention, though — a lot of people are comparing Pr CS6 to the erstwhile FCP8, but I think it’s important to remember that this is not actually FCP. There are a few differences (like the natural inclination for all-native workflow and the attendant render upon output, for example) that FCP users will have to learn, but I think Adobe has done an outstanding job of improving Pr (and incorporating some good ideas from other NLEs) without losing their own philosophy on editorial.”
TOTALLY agree. Adobe wants to intelligently support the most important aspects of other applications while giving users innovative and new ways to do things where it makes sense. The trimming in CS6 is a great example of where we attempted to adopt much of what made Avid trimming great but also make it better, easier and intuitive to grasp as well.
Franz “I’m encouraged by what I hear and see but still skeptical until the test of practice, particularly with respect to large projects and also audio handling / mixing.”We agree which is why we want users to use the free trial when they need a good evaluation.
David Jahns – Adobe solutions on NVIDIA are terrific and the Speedgrade solution there is VERY nice. however, I agree that not having support for AJA, BMD, Matrox, etc is a bummer. Fact is, that we just didn’t have enough time to do what we wanted with Speedgrade. We have a long list of future enhancements and one of the top ones is definitely other card support.
Herb – I’d suggest you spend some significant time with our three-way color corrector which is really what the main feature of Symphony vs. MC6 is all about (at least as I understand it).
Okay – back to some email… sorry!
Dennis – Adobe guy
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We are a production facility with 5 FCP systems and 9 years of FCP projects backed up. We constantly open old projects, update them and output. It’s easy. I suppose I will need a working Snow Leopard install with FCP7 and AE 5.5 so I can continue to provide the excellent service we have.
Whatever the edit system we transition to it will mean months and months of growing pains…learning software, teaching each other, learning together and creating new workflows that become the new standard of service that we provide.
The harsh reality is that this is truly a sad time for me in this industry. It seems the wonderful run we had with FCP7, its ease of use and long years of dependable service is akin to taking the old Chevy to the crusher.
Premier Pro? Really? I have to be a Premier shop? Just doesn’t sound sexy. AVID? Are they gonna make it thru their financial burdens? Smoke? Ok. under $4000 NOW for Smoke on a Mac but what’s the upgrade cost gonna be going forward? (5 systems) and what Mac will I run it on.
Until I know what exactly Mac is going to do with hardware, I’m sticking to my very much working 5 seats of FCP and CS 5.5 on Kona cards. and we’ll be doing just fine whatever shakes out.
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
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As an picture & audio post facility, I have to say that a combination of clip based gain & EQ plus track & bus based automation is the most powerful and useful combination. Clip based keyframing of audio is clumsy compared to having track and bus faders to ride.
That said it is vital that a simple means to move track based automation with the clips is important so that automation made during the edit process sticks to clips. If Adobe can make sure this happens elegantly then I think editors will see the benefit of track based automation.
Whenever I had to rough mix in FCP the fact that everything was clip based was a major pain. It really is so slow and hopeless for track based effects like EQ, de-essing and dynamics processing. Trust me you will want track based automation as long as it is easy to cut and paste with clips.
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[Michael Gissing] “Whenever I had to rough mix in FCP the fact that everything was clip based was a major pain. It really is so slow and hopeless for track based effects like EQ, de-essing and dynamics processing. Trust me you will want track based automation as long as it is easy to cut and paste with clips.”
But of course!
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Any idea why MTS files won’t play back on a 12 Core Mac Pro with 32 GB Ram, and an Nvidia GTX 285 card? They just sit there frozen but pro res plays ok. The same clips would play on CS 5.5.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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Yeah if that doesn’t work with Kona then that’s a big deal.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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Yeah, as an existing owner, the cloud subscription is a no-brainer for the first year: $30/month! For EVERYTHING in their suite. You’re kidding me, right? I’m an Avid guy thru and thru, but there’s always room for another suite on certain jobs.
Chris
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[Michael Gissing] “That said it is vital that a simple means to move track based automation with the clips is important so that automation made during the edit process sticks to clips. If Adobe can make sure this happens elegantly then I think editors will see the benefit of track based automation.”
Michael,
I think you’ve critically articulated it best here – understanding the strength of both models, the problem of the current implementation, and a clear way to improve. Please send to Adobe!
Franz.
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[Dennis Radeke] “We do understand that many FCP and Avid people want a clip mixer and we will see what happens.”
Dennis,
I think Michael Gissing articulated the issue more clearly above – the issue is not so much clip based vs. track based, it’s the fact that track based information is useless if your edit isn’t locked, ie. it sort of assumes I’ve finished editing before I mix (which is a poor model).
Sticking with the current Adobe model would be greatly improved if track-based mix automation moved with clips.
Franz.
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