Dennis Radeke
Forum Replies Created
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I think you may be missing the larger point which is that we’re actively listening (easy to do) and responding (much harder to do) to a broad cross section of users. Simply put it isn’t Fincher and the Coens. Nor is it solely larger media companies (what I tend to focus on). We have demonstrated that for several years now and I think most people would acknowledge that.
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[Oliver Peters] ”
In the case of Premiere, there are Adobe engineers involved who are studying workflows and requests and seeing how to make these changes in Premiere. It extends into media optimizations with SANs, as well. This is something not even Avid has done very much of except maybe in the early days.From what I do know of some of the people on the inside, they do study “pain points” and try to integrate solutions into the updates, but it never seems to take the form of direct features that are trackable to a certain person’s input or request. That’s what seems quite different in the eyes of these folks with Adobe compared with the other “A” companies.”
I can confirm all of this as a regular practice for us and I’m on record as saying this is a large contributing factor to Adobe’s success.
Dennis – Adobe guy
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[Trevor Asquerthian] “Adobe have turned this around a bit, although they are announcing features that have been in avid for quite a while then failing to deliver on them properly (script sync & morph cut are two that spring to mind)”
With ScriptSync, we took a very different approach technology wise than Avid. The technology we licensed never matured and if no one is using it, we feel we should reset and come at it again. We do think this is an important idea and will continue to look at it. It should be of note that Nexidia makes a plugin that provides some of this functionality and also was the license partner that Avid had for their ScriptSync which is now a $1000 add-on. We also continue to have Adobe Story which is another way to create some of this functionality.
MorphCut is new by us but again a different technology built in house than what was created or licensed by Avid. In this case, I would argue that our end results are visually much better than other solutions. Give it a try and let us know what you think.
So – yes we do add some technology or features after others have blazed a trail. We do this because we’ve heard from customers that we should do this or because we believe something improves the editing experience for all editors. Honestly, all manufacturers have a bit of ‘me too’ in addition to new ideas.
For Adobe, I would point to GPU hardware acceleration, native editing, 1st 64-bit native, closed caption, embracing 4k and above workflows and probably some others as things that have blazed a trail.
Dennis – Adobe guy
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“[Oliver Peters] ” It’s adopted a very “dumbed down” iOS style, which doesn’t match any other CC interface nor the rest of Lightroom.”
[Oliver Peters] “I’m not sure what Adobe was thinking, but there’s an example of making a huge change that doesn’t work. FCPX’s change worked – for better or worse – precisely because they cut the chord.”
[David Lawrence] Do you think it might have anything to do with their recent focus on mobile apps for iOS?”
No, our decision was based on a number data points and customer input, but obviously the greater customer feedback has been negative and we are looking at addressing this as soon as possible.
Dennis – Adobe guy
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[Craig Shields] “Wasn’t Lightroom already doing this?”
Yes, Lightroom was the first Adobe application to show a newer interface which included workspaces on the top (library, develop, etc.) and a progressively revealing/deep aspects to manipulating your image. In Premiere Pro, we call this feature ‘stacked panels’. As a side note, we’ve taken the idea of stacked panels and made it a new customizing option for most panels in Premiere Pro.
Lightroom came out in 2007 so predates FCPX by quite a large margin.
I will be very forthright in saying that my bias for Adobe’s general UI design is pretty high, so feel free to disagree, but I don’t really see any UI influence from FCPX in this case.
Dennis – Adobe guy
PS – I launched FCPX to make sure I hadn’t missed anything (you’ll point out if I did) and it made me touch the keyframe editor…
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Hi guys,
I am at the event today and helped represent Adobe since so many of my coworkers are in LA for Adobe MAX.
First eyes on the device this AM (they were pretty secretive) and have to admit, it is very intriguing. It bridges laptop and tablet device pretty smoothly. New touch stuff coming to next release of Premiere makes it even better in tablet mode.
Point is, everyone is racing to a combined tablet/laptop experience and even for my first glance, there is a lot to like here.
Hoping to get one of the units once it is available and will be putting it through its paces and taking it around on my client visits.
Lastly, I played with a couple of units but was able to play with a 16GB RAM and i7 combo which was a real great experience. 3.5 pounds with keyboard.
As for price, I will let you debate that, but a MBP15 is going to be more than that for sure and a 13″ MBP doesn’t have i7 option and is still close to same price.
HTH,
Dennis – Adobe guy at Microsoft event today -
[Walter Soyka] ”
tldr; Metal is cool, but it is not the only game in town for next-gen GPU acceleration. Apple’s a fast-follower, and if you only watch WWDC, you’ll get a very distorted view of the state of the art. Ae needs to get faster, and Metal might help make that happen, but there are other ways worth considering, too.”This ^^^
Other than quoting Walter, I will stay out of this one.
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James,
Pretty much what Oliver said along with my one word addition.
[Oliver Peters] “The fact that Premiere can handle native media doesn’t mean that it’s always the best way to work. Prelude gives you an Adobe tool that’s designed for pre-edit and media prep, but it’s use is optional.”
In other words, “right tool for the right job.”
Dennis
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[Oliver Peters] “In fact there is no built-in transcode function in Premiere Pro unless you consolidate and trim the finished sequence.”
I would say that if you need a transcode workflow, that’s exactly one of the uses that Prelude is designed for. Imagine a whole program for “Log and Transfer” and throw on “keyword tagging” as well.
As an aside, don’t forget about Adobe Media Encoder’s watch folder capabilities. If you just need massive, raw background transcoding, this solution will work great.
Dennis – Adobe guy
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[James Ewart] “Can I ask for clarification on this seeing as you are here please?
With PP you don’t need to transcode media Full Stop (or Period).
You put whatever it is in the timeline and don’t give it a second thought? Just cut and then export to whatever you like?”
Hi James,
I would hope other can chime in to give you non-vendor replies. In principle, yes it’s that simple. In the timeline, we resolve aspect ratio, frame rate, codec and if you wish frame size. Of course we give you total control on how the picture looks. When outputting, we resolve pull up/down cadences from different codecs for output so your visual quality is top notch.
Of course, your mileage will vary based on several factors…
Large frame, 4k and higher media can break the rules a bit if they’re particularly heavy. Performance may suffer to a point where you would want to create some proxies. That said, I’ve had great success with RED, 4k H264 like the GH4, several Sony flavors and some others. A lot depends on the kind of system you put in front of it too – i.e. a laptop isn’t going to give you the same performance as a souped up desktop.
Finally, in my experience with editors, a lot depends on what you consider an acceptable responsive editing experience. Codecs will vary it a lot here. i.e a ProRes 422 1080i on a MacPro will give you a much more responsive edit experience than an older laptop without GPU acceleration and asking it to smoothly scrub 4k H.264 media.
Hope this helps,
Dennis – Adobe guy