Dennis Radeke
Forum Replies Created
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Some older ideas or two points that I would add along with Herb’s would be as follows:
GPU – Adobe’s Mercury Playback Engine was the first mainstream NLE to tap into a new generation of GPU. Not OpenGL but CUDA and later OpenCL. For a certainty, it got the conversation started back when DSLRs and H.264 were changing the discussion on film making.
Native File Format Support – Not transcoding media and being able to edit immediately is a huge time saver and one of the biggest things that moves/moved broadcasters and large media companies away from Avid and FCP7.
Although these two points don’t fall within Bill’s guidelines of the last three years, I think they were important steps in the evolution of NLE’s in general. In both cases, other NLE’s followed suit. And let me say clearly that ALL NLE’s have provided some unique features that changed the landscape. I agree with Herb in saying that it’s not limited to the 3 A’s. Vegas is great at audio, Edius is strong at news editing and broad codec support, Lightworks has film devotees, etc.
Dennis – Adobe guy
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[Shane Ross] ” Uhm…guys, you are talking capturing from TAPE. Log and Transfer was how FCP imported from TAPELESS media.”
RIGHT!
For file based formats, FCP7 only essentially understood Quicktime and so rewrapped or transcoded the footage. Most editors in some fashion now natively understand more of today’s camera formats natively and so the need for Log and Transfer is not necessary.
For Adobe – mass ingest, tagging and renaming of clips, you’re right – either Prelude or AME would be the right choice.
For browsing and importing of single clips, I use the Media Browser in Premiere Pro.
Dennis – insomniac Adobe person (who has a migraine at the moment)
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[Tony West] “Yes, this is where I see editing going also, but not to NY, to some country where the rate is a lot lower.”
I actually don’t see that as prevalent. If the servers exist in outside country but media is shot in US or similar, then upload bandwidth, time and cost may make it less appealing. If servers exist in US, then Internet across oceans is either a) very expensive b) low bandwidth and not suitable c) possibly both.
[Tony West] “”We don’t need you anymore. We got (fill in the blank) over there in India cutting for a third.”
Too cynical? : ))”
Yes, but I am from the Northeast (NY/NJ) so I’m down with it.
Dennis – Adobe guy
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[Aindreas Gallagher] “Adobe could have done it – they engineered the hell out of it – but they thought that would get too barmy.”
We actually had that working but as you said, it would get too barmy. Also, there are very few use cases where we see this is in regular practice (all protestations to the contrary)…
Dennis
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[Oliver Peters] “The way Anywhere has worked is that different users can work on multiple versions of the project file (which lives on the Anywhere server), by using a check out/check in process. So discrepancies between the two versions have to be reconciled in an accept/reject dialogue. I’m not totally sure how this new implementation works differently.”
I wouldn’t use ‘check-in/out’ terminology nor is your description entirely accurate to my ears. Multiple people can be working without concern for checking in/out. For example, person A pushes up a bin of new media into the production. Later on, person B wants to save the latest edits to his/her timeline. Before that can happen, He/she will be prompted to get the latest changes (i.e the new bin of media) and then the timeline changes itself will be pushed up.
HTH,
Dennis – Adobe guy -
[Andrew Kimery] ” I’ve been waiting for this to happen but I don’t know if it’s really a knife between Avid’s ribs unless you can seamlessly have multiple people working (and saving their work) inside the same Premiere Pro project at the same time.”
You can have multiple people working on the same “Production” (Adobe name for a multi-user Anywhere project). Someone could be ingesting new media into bins while someone else is cutting on a sequence. Each user can push and get the latest changes by clicking a single button. There is also conflict resolution in the unlikely event that two people are working on the same sequence at teh same time – in short, you will not wreck a sequence.
Dennis – Adobe guy
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I didn’t make it to IBC this year, but Walter was talking about switching to Premiere Pro. I managed to find this article: https://www.tvbeurope.com/walter-murch-talks-premiere-pro/
Dennis – Adobe guy
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[Oliver Peters] “It seems like an obvious direction. Will we see an optimized and fullblown version of FCP X running on iPad Pro? Complete with touch and Pencil support?”
Agreed.
[Oliver Peters] “Or will Adobe be there first?”
We can run Premiere Pro on a Surface Pro. It’s not like editing on a desktop but the experience is improving and I would call it adequate at the moment. We remain committed to a cross platform editing experience.
Dennis – Adobe guy
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[Herb Sevush] “Romeo has nothing on you.”
I laughed out loud – thank you…
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[John Rofrano] “I could not find that anywhere on their site back when I needed it (last year) and I looked as hard as I could.”
It’s right here and has been since it began: https://creative.adobe.com/plans
[John Rofrano] “I wanted to subscribe to InDesign just for the 4 months that my son needed it for school and I couldn’t find any way to do that.”
As Walter mentioned, education plans are not offered monthly but are so heavily discounted for the year, you still make out in the end.
HTH,
Dennis – Adobe guy