[Dennis Radeke]

I’m certainly still skeptical, but like many others would be thrilled for professional Mac users who need a new Mac tower capable of delivering modern performance. Who doesn’t win here?

[Dennis Radeke]

I’ll take a whack at answering without reading all of the responses. Of course, it’s important for me to say this is my personal opinion only!

– MONEY: traditional tower markets are shrinking though still vital to certain market segments. In short, people who buy towers are not a big enough market for the machine that is Apple. Let me give you a choice – you can only pick one! A) make something that makes you some hundreds of millions of dollars. B) make something that makes you some tens of billions of dollars. Which do you choose. Right, Apple did too…
– Tower customers are NOT APPLE’S TARGET anymore. Towers don’t fit nicely into the digital hub of Apple anymore. For that matter, any traditional computer (IMO) will become a spoke instead of a hub as they invest more into iCloud.
– Thunderbolt is their future so PCI-E is not. Audio and video devices will be thunderbolt moving forward.

There are others like ancient case design, costing more than a PC, etc. but I will assume that many have already chimed in on those.

[Dennis Radeke]

If it hasn’t already been mentioned, it makes sense for you to give an earnest try to all three in turn as they all have 30 day trials. Knowing more than one NLE is always a plus and as has been mentioned here many times, each NLE has certain strengths for particular types of projects.

Once you’ve done that, you’ll have your favorite and I hope it’ll be mine, but regardless, you have working knowledge on all three.

Good luck!

Dennis – Adobe guy

Here’s the link for the Production Premium trial https://adobe.ly/In5IR5

[Dennis Radeke]

[Andy Field] “Integration between PPPro and After Effects is terrific – just like the Motion to Final Cut Pro 7 integration worked way back when”

Hey Andy – nice to see you on the forum here.

For clarification’s sake, Apple’s integration was in response to ours which started in CS2 (2005) and was expanded upon in subsequent versions.

Dennis – Adobe guy

[Dennis Radeke]

[Andrew Richards] “There are Sarbanes-Oxley rules about how public companies are allowed to account for and deliver significant feature updates to existing products”

This is true and is one advantage of a Creative Cloud subscription, it allows Adobe to legally provide new features since you’re paying month by month. Sarbanes does not prevent certain improvements like improved performance (OpenCL, CUDA) and format support (RED, etc.)

[Dennis Radeke]

For CS6, SpeedGrade needs an NVIDIA SDI board to monitor output. Given it’s past pedigree in film workflows, this wasn’t a big deal, but as we bring SpeedGrade to a wider audience (like now), this is a huge issue.

We know we need to address this.

For what it’s worth, I love the NVIDIA guys and products but I’ve been very upfront with them that their SDI board is too expensive. If they had an i/o board that was $1500 more or less, then you guys could have a monitoring solution and CUDA acceleration in a single solution. That would be nice.

Dennis

[Dennis Radeke]

[David Jahns] “2 things it definitely needs before CS6 can be a FC Studio replacement.

1) Dynamic Link from Ppro

2) Mercury Transmit – video out to your I/O card on the Mac.

I understand that it’s a new acquisition, etc., and it will probably be great by CS7 – but it still amazes me that it will just then be reaching the functionality of FC Studio circa 2007. (yeah – Color was pretty buggy way back then – but still – I could round trip to my NLE and output to a calibrated monitor – is that asking too much?”

Agree that these two things are the two that will impede adoption during the CS6 cycle.

As an insider to Adobe, you cannot dismiss that 6 months is precious little time to get what we did done. I can tell you that as a field person, I was amazed at all the cool stuff they did do. In the CS6 cycle, they completed their move to a brand new 64-bit engine, took some cues from Adobe’s UI design (including layers) and incorporated a first pass at integration. In addition, the AE and PS teams got the .LOOK file incorporated. So, I’m pretty happy given that there was so little time.

That said, we KNOW we need to do a lot more to make it as Adobe users have come to expect – best of breed integration both internally and externally. We’ll get there, just give us a little time.

Finally, while I admit my comparative ignorance around the speedgrade tool, I will say that feedback about stability has been very positive. That’s one thing that if you don’t have, no amount of integration is going to help!

Dennis – Adobe guy

[Dennis Radeke]

John,

With XMP (eXtensible Metadata Platform), the metadata is stored within the file itself whenever possible. When direct injection is not available, it is stored as an XMP sidecar file in the same folder as the video essence.

QT as you know is a container format so can hold the metadata no problem. Things like XDCAM (MP2 essence) do not support injected metadta so it’s stored next to the video.

The problem is that there is no one metadata standard. Adobe’s XMP is open, contains an SDK and there are partners who use it a lot (Media Beacon, Day Software [part of Adobe now], Chyron, others). However, I would not call XMP a standard by any stretch. The fact that there is an SDK allows for translation from one metadata format to another. However, it’s up to the other companies to want to support it.

At the end of the day, I don’t know of a simple way to share metadata between FCPX and CS6. The idea of a MAM (media asset manager) is the most logical step if you want to share metadata between applications.

Hope this helps.

[Dennis Radeke]

Answered the original thread.

[Dennis Radeke]

Hi Jules,

I might need some more coffee, as it’s still early for me, but I’ll give it a go…

1 – We don’t do this but we’ve had it come up a bunch post CS6 by FCP’ers like yourselves. File a feature request here: https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform
2 – right-click in the gap to ripple delete. There is also a keyboard shortcut you can use but requires you to ‘select’ the gap. File the feature request – I’d like that one too!
3 – Never heard this one before – sounds like a feature request to me.
4 – Not that I’m aware of.
5 – answered above
6 – The button editor in the source/program views of CS6 give you some of that functionality, but you can’t drag any ‘ole command there.
7 – answered above. Finally got that one in believe it or not! 😉
8 – answered above. Yes, file the request if this is important to you.
9 – You can lock the indivdual tracks but not lock all audio in a sequence with one click. Look at the track header information and you will see the lock button.
10 – I use the Fast color corrector for level control. Essentially a one-color wheel version of the 3-way with many of the same controls. Use the input level slider for crushing blacks. There is also a Levels command like Photoshop, but many more values and no slider…
11 – we’ve heard about a copy/paste attributes feature from some FCP people and we’re looking into it. However, you can select an effect and simply copy and paste it to another clip. You can also select multiple clips on the timeline and choose Edit>Paste Insert and paste that effect to multiple clips. As mentioned above, you can also save a preset and apply that too.
12 – Our audio handling in CS6 is pretty nifty. If you want the Zoom audio to present itself as dual mono, you can set it up in the sequence as such or do it after the fact. Easiest way to discover the possibilities is to select the audio clip, right click and choose Modify>Audio channels. From there you can express a stereo clip as dual mono, a mono clip as stereo, etc.etc…

Hope this helps,
Dennis – Adobe