[Dan Callahan]

I’ll go through Point by point to the best of my knowledge

1) Does it work smoothly with EditShare so multiple editors can work together?

I’m not familiar with EditShare, but Adobe just implemented Team Projects in CC2017, so that might be a good place to look to see if it’s a fitting replacement.

2) How reliable and straightforward is the offline/online workflow (so that screener footage can be replaced by master footage, etc.)?

The proxy workflow is essentially the same as FCP or Avid, you can ingest the footage and set it up to proxy out to h.264 automatically, uncompressed, etc. Relink once you’re ready to output the final, essentially the same as FCP.

3) Associate producers and archival researchers often ask me for EDLs of the latest cut (which I clean up in MS Word to make more readable). How reliable is EDL export from a complex Premiere project?

We have done EDL export for several programs, no issues outside of plugin compatibility and things like that.

4) We often work with online houses that rely on Avid Symphony for color correction. Is that a no-go for a Premiere project? Or is there some way to get from Premiere into Symphony? If not, is Resolve the preferred tool?

Premiere has Lumetri and Speedgrade for Grading. I’m not familiar with Symphony, but that may not be a compatible option with Premiere. Avid is a direct competitor so I wouldn’t bet on Adobe trying to get cross platform compatibility solid. EDL or XML output is still your best bet.

5) What other issues and problems have you faced in doing this?

Nesting is a bit of an issue, but as someone who came from FCP, I think there are so many ways that Premiere has beaten Final Cut 7 in terms of the functionality they offered and how they implement it across their programs. My boss is actually an Avid certified editor who worked on Avid for over 20 years, he went over to Premiere due to cost and the streamlining of so many different elements under one umbrella of programs. What used to take 5 programs across 5 different manufacturers has been consolidated down to one company offering a single suite of programs. It’s not perfect, but it’s way better than Avid’s habit of charging thousands of dollars per feature set.

6) On the flip side, what are the real advantages?

Native compatibility with After Effects is a huge advantage, especially for docs. It would have been a dream back in the FCP days to be able to see a live preview comp of your project with effects and everything without having to output to an intermediate. It really is hugely beneficial towards getting a completed project all under one system. Also, a lot of codec support and the ability to composite in linear color using Lumetri. The list goes on. It’s absolutely a fundamental shift from Avid, but if you’re familiar with FCP then you’re already in the ballpark.

[Dan Callahan]

Hi Jon, thank you for the response and sorry for the late reply. Have been a bit between projects where I have not been running into this issue.

My current project is seeing the same issue I discussed above. The transition in question would be BCC Rays Dissolve, the jump issue I discussed above is occurring once again. This does not appear to be specific to any particular transition, but rather applies to all the transitions when used on an ultra keyed clip.

This is on a Windows 7 machine with Premiere Pro CC 2015.0.2 installed. I have made jpgs of my timeline as well as exporting a sample video of the problem. Will send over to the email you mentioned above.

Thanks!
– Dan

[Dan Callahan]

Oversaturate your footage or use a different container for compression. One of the drawbacks of h.264