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Why we will be choosing PremierePro over FCPX
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[Walter Soyka] “FCPX gets all kind of accolades for its forward-thinking, modern features like 64-bit architecture, native media handling, GPU acceleration, floating point processing — but all these features were all “new ideas and thinking” in Premiere Pro before Premiere showed up on our collective radar.”
Every feature you mention here are lovely for the technical astute, but way down the list of what makes a piece of modern software useful to my thinking.
They’re all centered around how fast or efficiently the software can do it’s traditional tasks.
What are the ‘standards breaking” features of Adobe’s approach? I’m NOT saying they didn’t re-invent things – they surely did. But are those things features used by the few, or the many.
Striped down to the bare bones, has the Premier team confronted the question “Is there a better way to do common editing tasks than the way we’ve been doing them all along?”
Or do they see video editing as something that there’s no real need to “re-invent.”
As much grief as X implementations as magnetism, and blowing up the track orientation earned them, they WERE re-imagininings of how an editing process might fundamentally be.
That’s why it’s fair to ask how much of any NLE development effort it aimed at improving and adding to what’s already there – and what part of that effort might be aimed at re-imagining where the larger game is moving.
I think that’s a fair question.
It’s a video revolution out there – NOT an evolution. HD video capture devices in virtualy every pocket IS a transformative, like it or not.
It means the flood becomes a torrent.
Any particular editors process may be sequestered from the flood – particularly if they’re lodged in an office with gatekeepers telling them what content to work on and when – but for many, video is increasingly no uncommon a resource that needs creation, curation, and management than any other form of digital communications content – be it email or music.
So what are the tools that people can use to manage this new reality?
Is Premier interested in that? Or in making movie and episodic TV producers feel more comfortable?
Are they intrested in the industry as a whole? Or do they believe that their business is best served keeping the old-guard editing pros happy?
Most of which is only peripherally about how fast the processors crunch pixels.
And all about how the company sees video being used in our collective human future.
FWIW.
(work calls, no more time for this fun!)
Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
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That’s good. I’m glad you’re happy also. Run with that. I was just saying you oversimplified things by putting people into two categories of why they made the choices they did. You don’t really have to keep preaching that same innovate argument.
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[Bill Davis] “So those are the “two” choices I was talking about.”
Bill,
I think you’re still building a false dichotomy.
If you look at node-based workflows, for instance, you would come out with a different division between NLEs. This might be of primary importance for some editors.
You might find the timeline difference to be the most important difference. By emphasizing that, you’re ignoring what others might emphasize as a defining feature.
Franz.
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[Franz Bieberkopf] “If you look at node-based workflows, for instance, you would come out with a different division between NLEs. This might be of primary importance for some editors.
You might find the timeline difference to be the most important difference. By emphasizing that, you’re ignoring what others might emphasize as a defining feature.”
aye – there is a brilliant bit at nab where scruffy tv talk to the AE guy – he basically makes that point.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Bill Davis] “While the rest of the world moves on…”
That’s always the rallying cry of the early adopters and it never really seems to give them a leg up over the competition.
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Seriously Bill you need to take off your blinkers.
Alex Hawkins
Canberra, Australia -
[Walter Soyka] “FCPX gets all kind of accolades for its forward-thinking, modern features like 64-bit architecture, native media handling, GPU acceleration, floating point processing — but all these features were all “new ideas and thinking” in Premiere Pro before Premiere showed up on our collective radar.”
[Bill Davis] “Every feature you mention here are lovely for the technical astute, but way down the list of what makes a piece of modern software useful to my thinking. They’re all centered around how fast or efficiently the software can do it’s traditional tasks. “
I don’t think you’d like FCPX very much if it constantly threw “Out of Memory” errors, or if you had to transcode to ProRes before you ingested, or if you had to render everything before you could see it, or if your effects couldn’t preserve overbrights.
[Bill Davis] “Striped down to the bare bones, has the Premier team confronted the question “Is there a better way to do common editing tasks than the way we’ve been doing them all along?””
I just spent 729 words describing how I think Adobe has found their better way by offering a broader and deeper toolset.
While I would certainly say that Adobe does work at making common editing tasks better, I’d also say they enable uncommon editing tasks, too — and that’s what I find so appealing.
[Bill Davis] “As much grief as X implementations as magnetism, and blowing up the track orientation earned them, they WERE re-imagininings of how an editing process might fundamentally be. That’s why it’s fair to ask how much of any NLE development effort it aimed at improving and adding to what’s already there – and what part of that effort might be aimed at re-imagining where the larger game is moving.”
I think you’re begging the question. Your conclusion is an implied premise of your argument.
[Bill Davis] “It’s a video revolution out there – NOT an evolution. HD video capture devices in virtualy every pocket IS a transformative, like it or not.”
There is no video revolution. EVERYTHING is accelerating. Video is just along for the ride.
[Bill Davis] “Any particular editors process may be sequestered from the flood – particularly if they’re lodged in an office with gatekeepers telling them what content to work on and when – but for many, video is increasingly no uncommon a resource that needs creation, curation, and management than any other form of digital communications content – be it email or music. So what are the tools that people can use to manage this new reality?”
I don’t follow.
[Bill Davis] “Is Premier interested in that? Or in making movie and episodic TV producers feel more comfortable? Are they intrested in the industry as a whole? Or do they believe that their business is best served keeping the old-guard editing pros happy?”
If be “the industry as a whole” you’re talking about “people creating digital multimedia content as a part of their job” — then isn’t it pretty hard to identify a company with a more holistic interest than Adobe?
[Bill Davis] “Most of which is only peripherally about how fast the processors crunch pixels.”
Let’s come back to this sometime. There is a reason I am so passionate about processors crunching pixels, but this needs some time and space of its own.
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events -
[Mathieu Ghekiere] you can just make a duplicate of a sequence and name it version 1 or whatever, and work further on version 2. Also check Digital Rebellions ProVersioner tool.
I really don’t like the way FCPX requires you to go to third parties for things that should have been there to begin with.
[Mathieu Ghekiere] I still prefer color wheels.
Me too. I’m glad Premiere has them.
[Mathieu Ghekiere] “No Media Management for saving with trimmed Media”
Does Premiere Pro allow this? You can save media with FCPX, or even only the used clips you have in your timeline. But no handles. I’m pretty sure that’s coming in an update.Premiere Pro does have this, but it doesn’t work well for formats that are based on a “folder structure”. During the demo of the next version that I saw, someone brought this up, and we were told that they are working on it- and after seeing all the major improvements that are comming in the next version, I can say very confidently that I belive it.
[Mathieu Ghekiere] Buy Event Manager X. Seriously. It’s a 4 dollar app.
Another 3rd party add-on to buy to fix something that should have been there to begin with, eh? Geez. Yes, it’s only four bucks, but with Premiere this issue is never there to begin with, so you don’t need to buy anything to fix it. So now you can meet with someone at Starbucks and have a tall White Chocolate Mocha while you’re there, and feel good about the fact that you were able to spend time with a friend over coffee instead of spending more money to fix another one of your NLE’s glaring shortcomings…
[Mathieu Ghekiere] Yes, I would like to have Apple set custom resolutions in a project, I hope they add this (I’m pretty sure they will). But there is a perfectly working work-around for this, described here on Creative Cow. Search Google for Creative Cow Custom Resolutions or something. It works perfectly.
But, see, with Premiere you don’t have to hope it gets added, and you don’t have to do a google search, then come to the Cow, then go through the steps of doing a workaround- because it’s there already.
[Mathieu Ghekiere] “Missing possibility to inspect clip from timeline in event viewer”
You can always just click the clip and use the shortcut SHIFT+F (if I’m not mistaken). Reveals it in the Event Browser…In Premiere, you just right-click the clip in the timeline and go to Properties, and it comes right up.
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“Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.” -
And once again the arguments come full circle:
There is no industry as a whole. You’ve got skateboarders/snowboarders who are just starting to edit, hobbyists, wedding videographers, promo editors, one-man shows, production houses, ad agencies, you name it, and each and every one of the end-users will have a different set of preferred features, must-have features, and wish-they-had features.
That’s the flaw with all of the back and forth here (for the most part). Each and every argument is based upon what each particular poster thinks should be the standard for everyone else, based on their standard…
I’d really like an NLE which accesses Windows’ incredible Voice Control feature; imagine hands-off editing – “Open Premiere – Mouse Control – Bin – Select One – Open – Place Clip on Timeline at 00:04:14:21 -Apply Effect – Gaussian Blur – 2 percent – Enter – Play Back”. It would make carpal tunnel a thing of the past, and enable editors who have hand or arm problems to continue working. But that’s not on anyone’s radar. To a certain degree, I can already do this in Windows (having played with it extensively in Vista64-bit), but there are some features in the NLE which would have to be slightly adapted to work with voice control…
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
[Greg Andonian] “with Premiere you don’t have to hope it gets added”
But, you’ll notice you just did that 3 paragraphs earlier in relation to media management.
So you’re saying you’re positive Adobe is addressing this and positive that Apple is not? Based on what exactly?
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