Why should we use premiere?

[David Roth weiss]

Unlike FCP legacy Premiere can playback anything on the timeline without rendering, is 64-bit, is GPU accelerated, has support for essentially unlimited RAM, and has the broadest suite of apps in the biz.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[Pat Horridge]

How long will the hardware that runs FCP legacy keep working? How fast can you turnaround a repair of a dead system? How will that impact you delivery ability.
Is running an old OS a security issue?
As long as it does what you need and can be secure and supported why change?

Pat Horridge
Technical Director, Trainer, Avid Certified Instructor
Free online Tutorials at VET digital media academy online https://vimeo.com/channels/752951
VET
Production Editing Digital Media Design DVD
T +44 (0)20 7505 4701 | F +44 (0)20 7505 4800 | E pat@vet.co.uk |
http://www.vet.co.uk | Lux Building 2-4 Hoxton Square London N1 6US

[Mads Nybo jørgensen]

I echo what David mentioned.

However, would add that with the CC tool-set you get access to a creative ecosystem which will allow you to play and manipulate After Effects compositions directly in the timeline. With the new software architecture promised in the new upgrade, you should see some impressive improvements in speed-to-delivery ratio.

Hopefully as you grow more confident with the platform, you will be able to push the boat out on post production in your live tv environment.

All the Best
Mads

@madsvid, London, UK
Check out my other hangouts:
Twitter: @madsvid
https://mads-thinkingoutloud.blogspot.co.uk

[Alex Udell]

We were an FCP motion shop…
or a Motion FCP shop.

For us…

we NEED Creative cloud because as an agency all departments rely on the tools.

Premiere would just be there anyway…and it ran on hardware we have…but opens the door to be on any platform we want.

And for us it’s TON easier to find After Effects artists than Motion artists.

Now all that aside…

Adobe has done a bang up job making it pretty easy for FCP editors to use transition to PPro without missing a beat. No it’s not exact. but it’s really good.

Set your keyboard shortcuts and you’ll be pretty comfortable.

Never really have to think about whether footage I receive from anyone will work. It always does.

I’ve even brought over XML’s from old FCP projects so I can continue to use them in PPro when I need to.

Now let me also say….my PPro needs vary from short format offline an prep for After effects…

to 3-4 camera multicam mixed resolution HD/SD projects…that run about an hour.

PPro works great for us in these scenarios…but I may not push it as hard a other folks do.

The thing is…you can try it for free…and you’ll probably always have it around…as it’s in the cloud subscription anyway. Photoshop is a must have. So you really can’t lose.

hth…

Alex Udell
Editing, Motion Graphics, and Visual FX

[Herb Sevush]

[Scott Cumbo] ” I’ve been thinking about pushing to chance over to Premiere and wanted other peoples take on what the advantages are to switching.”

Along with everybody else’s comments about handling most video codecs natively and ability to use the speed of modern GPU’s it’s in handling audio that PPro shines. It’s integration with Audition allows for speedy and effective audio repair that is beyond anything you can do in FCP7, and the track mixer is also a delight and way ahead of anything in Legacy.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Walter Biscardi]

It works.

It’s efficient

It keeps improving based on feedback from actual creatives in the field.

We deliver broadcast episodics and documentaries, corporate training and marketing, original programming to the web and more. 11 years on FCP and we switched to PPro 3 years ago.

Biggest change to our workflow in making the switch was to stop transcoding everything before we edit. We’re editing everything natively, though we are looking at a proxy workflow for 4k offline and then switch over to the full res 4k for finish. Been cutting a lot of UHD lately for our own original projects and it seems the proxy workflow is going to work better than trying to cut UHD natively all the way through on all our systems.

Biggest thing to understand, your systems MUST be set up correctly for Premiere Pro. Biggest complaint I hear is “well my machine runs with XYZ software so why doesn’t Premiere work?” Because Premiere requires specific configurations to work efficiently and optimally. It’ll work on most any machine, but if you are editing and delivering professional projects, you have to make sure the configuration is optimal for Premiere Pro, not XYZ software.

Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media

Craft and Career Advice & Training from real Working Creative Professionals

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[Scott Cumbo]

Thanks everyone for the input, much appreciated!

Walter, I’m lucky in the aspect that we have an excellent engineering staff that stays on top of any issues.

Thanks again all!

Scott Cumbo
Lead Editor
Bellator MMA/Spike TV