[Dennis Radeke]

Well, like most things Bret, it’s a matter of perspective. And my saying that ‘every NLE does a few things better than the rest’ can hold true in the area of audio for Premiere Pro as well.

Premiere Pro has had sample accurate audio editing since forever. It also has had sub-mixing buses, something that many legacy users had wanted. VST plugin support, inserts AND sends. Touch and Latch automation and probably a few more things as well. Do some other NLE’s have a limited number of tracks you can use? really? Not Premiere Pro.

Shane’s primary beef (I think) with Premiere Pro is that the audio mixer is track based rather than clip based. If you’re a musician and you use a DAW, you’re expecting a track based mixer. That said, you can do clip based audio mixing adjustments, they’re just not quite as handy as users would like.

Point is, there’s a diversity of users and even more opinions about audio. Avid, Apple and Adobe all have strengths and weaknesses as each solution tries to address as many types of users as possible.

Can we make some aspects of audio handling, mixing and the like better? Definitely. We’ll keep on working on audio just like we’re working on improving all of our products.

[Dennis Radeke]

There is a way to ‘reverse’ stabilize the footage which involves applying it twice and you so you probably would have to do that through After Effects.

You can google After Effects Reverse STabilization and should find something. Will that make it to AE and Premiere Pro some day? I hope so.

In defense of the current Stabilizer – because it understands the frame size, it scales to the absolute minimum necessary to prevent a black line. Not perfect, but we do minimize scaling which is a good thing.

[Dennis Radeke]

Nice!

[Dennis Radeke]

[Steve Connor] “Viewer window, PIOPs, RED Workflow, roles and more. These are clearly responses to customer requests”

Steve, While this is true, these are nearly all of them are catch up requests or innovative workarounds to the way all other NLE’s work. So, while I agree that Apple is listening (Avid and others too), in their case they are putting BACK features that existed in FCP7. I think it’s an important difference. BTW – I don’t know what PIOPs are, so maybe I’m wrong on that one…

[Steve Connor] “Adobe have some holes in Premiere, Dennis tells us they are being worked on, but in real terms we’re not being told WHEN things are going to fixed or changed in PPro are we?”

Steve – quite honestly, any publicly traded company cannot announce when things come because of Sarbanes-Oxley https://en.wikipedia.org/wiki/Sarbanes%E2%80%93Oxley_Act As it is, we are public about saying that Adobe is on a yearly release cycle. Of all the major NLE vendors I think most people would agree that Apple does not win the blue ribbon for best communication historically. I can’t say it any more politely than that! 😉

I see that you’ve made a choice for FCP X and that’s great and I’m not trying to disuade you. I hope I am being a respectful part of the community and contributing to the knowledge and craft of our industry. Nothing more.

Thanks for chiming in.

[Dennis Radeke]

Steve,

I would say yes and no. one example is media management. Media management is an issue that has grown slowly over a number of years. I would say that it has grown a lot with the advent of cheap, high quality, file-based cameras. All three of those characteristics are necessary (cheap, good and file-based)…

Have some issues existed for Adobe products for more than one cycle – you betcha. That is also true for all other NLEs. For example, FCP7 never really addressed media management.

At the end of the day, you choose your tools based on a number of factors. I respect everyone’s right to choose and only responded to Shane’s post in order to say a) hey yeah, we know we have some things to work on b) hey, we do some really cool things too.

Cheers,
Dennis

[Dennis Radeke]

I know I can always trust Shane and some others to let Adobe have it with both barrels. Ouch!

In all seriousness and Shane will hopefully agree, Adobe is aware of the issues and listening to the customers and most importantly working on correcting many of the common complaints on things like Premiere Pro.

To be fair, Premiere Pro gets these complaints now because we’re offering an alternative that is acceptable in many cases (but not all) to FCP7 users. It should be any software vendors purpose to delight their customer. We’re doing that with many but we see more that can be done to please you.

We are aware of all of the things mentioned in this thread and we are hard at work… 😉

Finally, I will mention some of the things that Premiere Pro does really well because it is these things that makes people want all of the other things. Apologies if I sound a bit ‘market-y’ here:
– Best overall real-time performance
– best use of GPU
– best ability to mix and match media on the same timeline
– best overall integrated workflow with things like Photoshop, After Effects, Adobe Media Encoder, etc.
– best playback engine (does’t stop playing and lets you adjust effects while playing)
– adjustment layers
– cross platform compatibility
– solid (perhaps the best) overall support of new cameras and formats

In the end, I’ve always stated that every NLE has it’s pros and cons. To say otherwise is to betray your bias. Use what you want and be sure to obey this one rule – have fun!

Adobe’s promise to you – keep working hard to make you happy and earn your business.

Dennis – Adobe guy

[Dennis Radeke]

Maybe try this: https://www.creativeimpatience.com/vignette/

Also, is this in your final output? If so, what codec? gradients and banding are very common problems because video (and video hardware/software vendors) has a hard time with subtle changes. There could be a lot of contributing factors.

[Dennis Radeke]

Matt,

Sounds like you have an issue going on here so I’d say you should get that corrected before giving moving forward with the edit. In the absence of a lot of information, I’d say that you might consider uninstalling Premiere Pro (or Production Premium – whatever you’ve got on the system), run the Adobe clean script https://www.adobe.com/support/contact/cscleanertool.html and then restart your system. Reinstall your software and then hopefully you’re good to go.

Dennis

[Dennis Radeke]

Nevin, I would say that optical disc performance is an area that we can definitely improve upon but not reading them is not an issue. If you ever get a gig like that again (optical discs), copy them to a HD first and then all should be good. If you did that and you still had problems, I’d ask where the media originated (camera or other).

For the original question – I often use XDCAM as my main type of ad hoc demo media for Premiere Pro and Prelude demos – I’ve always had good results with it.

Dennis – Adobe guy

[Dennis Radeke]

Katy, congrats on making the move.

Premiere Pro will resolve the frame rate issues and actually has a fantastic scaler to mix 720 and 1080 footage. From Adobe’s point of view, the editor shouldn’t have to worry about codec, frame rate or aspect ratio. So, as a general rule, I say throw it all on the timeline.

As for your earlier question, I’d say just stay with what you’ve got. If you have QT PRoRes, then edit with that. If you’ve got some GoPro, don’t bother converting it (unless you want to).

I recommend converting from H.264, AVCHD or other longGOP formats to an I-frame codec (like ProRes) for two reasons only:
1 – your system is a bit older and you it can’t keep up (fairly unusual)
2- you don’t find the editorial experience satisfying with LongGOP formats (scrubbing longGOP video is MUCH more CPU intensive!)

I hope this helps.
Dennis – Adobe guy