Dennis Radeke
Forum Replies Created
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For those in this thread that want to get an understanding of Mac performance with Premiere and possibly a nvidia GPU, this article might help.
Premiere Pro on a Mac -
[Chris Knight] “Premiere edits ProRes just fine, it simply cannot encode to it (at least, not in Windows). Apple never made it a true QuickTime codec, so blame them.”
The above is all true. If the Mac system has FCP or Logic on it, then Premiere Pro can encode ProRes.
Dennis – Adobe
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[Chris Simpson] ” What’s the multicam like in PP and AvidMC? All I can find on PP appears to max out at 4angles. Sports/performance I tend to use at least 8 and as many as 12.”
Our multicam is very good except for the fact that we do need to increase our number of angles from 4. This is something that we’re looking right now.
On the positive side, ANYTHING can be a camera including a sequence. Also, there is no need to resolve all cameras to a single type of codec so you could for example mix a P2 clip with an XDCAM clip and not have any problems.
Dennis – Adobe
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[John-Michael Seng-Wheeler] ”
Chris is right, you need to unlearn Transcoding.”So very true. This is one of the biggest things that we (Adobe) have to communicate to others. If you can edit natively with full real-time, the need for transcoding is less.
That being said, there are use cases where a DI workflow is good to have. We can use AME to batch things to any codec you need.
Dennis
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I have Adobe Premiere Pro CS5.5, FCP 7, FCP X and Media Composer 5 all running on the same system with no problems.
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David did a good job of discussing Premiere Pro’s fresh code base and the effort that goes into a re-write – it really becomes a new product. The difference obviously lies in the fact that Adobe did not radically change the editing paradigm as Apple has done.
To speak to your concern, I think that Adobe has as good or better of an ecosystem than Apple does. Certainly with things like After Effects our plugin compatibility is greater than anyone else out there and all of the big guys (Red Giant for example) make their hosts compatible with both Premiere Pro and After Effects whenever possible.
For other hardware partners, we work with all three of the major video i/o vendors for the Mac, hang off of the same storage as anyone else (including Avid’s ISIS) and are now growing increasingly cozy with broadcast centric, high-end solutions such as Harmonic Media Grid and several others.
We publish a robust SDK (software development kit) so anyone can build support for our products – just search ‘Premiere Pro SDK’ and you’ll find it easily enough. That’s a big difference next to some of my competition – easy access to develop support for a given product.
Lastly, we’re working with some partners in ways that gives us terrific performance, namely nvidia. The CUDA architecture, while not ‘open’ like OpenCL, is actually ready today and working. In speaking to a major plugin vendor this week, he said that OpenCL still isn’t ready…
Hope this helps give you confidence about Adobe’s ecosystem as well.
Cheers,
Dennis – Adobe -
Premiere Pro and Production Premium are the same on Mac and PC. Same price, same functionality etc.
There are more qualified graphics cards for hardware GPU acceleration on the PC and a few extra (old) transition types but other than that, they are completely identical.
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[Paul Dickin] “Apple has chucked that out, and is apparently about to integrate the application directly into the OS’s core underpinnings.”
I think that all of the other companies are doing much the same and I think the analogy is a bit far fetched. If you’re 64-bit, you’re tying into Grand Central Dispatch… This idea could be right in certain cases, but my point is that if the OS has features, other companies can tie into it. FCP X may get a head start on OS X Lion, but the OS business unit must make it open for any company to tie into.
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I will only add that Premiere Pro can be used on either Mac or PC and that you can give the latest version a try with the trial version on the website.
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Sorry for the delay, I travel quite frequently for Adobe… 😉
With regards to trimming, I don’t find substantial differences between FCP and Premiere Pro, but I’ll be honest and say that I haven’t delved deeply into the subject. This video does give a pretty concise overview of the trim tools in Premiere Pro. They’re adequate and I think comparable to FCP. Avid is the gold standard and again, I’ll be the first to admit that it’s an area we can improve upon.
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With regards to a DI codec I think there are two answers. First, the need for a DI codec could be predicated upon not having a native workflow. In other words, it’s the old way of thinking. FCP users have a DI (ProRes) codec in part because they cannot edit natively. Yes, 4:2:2 intra-frame codecs (or above) are important for color grading and the like, but for general purpose editing not necessary. The need to convert in many cases is an outdated thinking for editing as we’ve moved in most cases to a file based workflow.
To the second point, for things like color grading, Premiere Pro can use any codec you like as a DI via Adobe Media Encoder. You can batch process your h.264 or any other type codec to any codec you have on your system. This includes P2, AVC-I, DPX, ProRes (if you have FCP or logic on your system), any QT, MXF including XDCAM EX and HD, etc. It does it in the background at better quality and in 64-bit speed.
More broadly, I think we need to realize that all of the big three have their pros and cons. You’re pointing out that Premiere’s trim tools could be better – agreed. I point out that a lack of a native workflow is one of FCP’s weak spots. They’re all mature and are all very fine products. It’s determining which of those strengths and weaknesses fit for you or for the job.