Dennis Radeke
Forum Replies Created
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Will try to provide some answers and start at the top…
Dave Lawrence – thank you for such gracious words. We strive to gain and keep people’s trust.
Franz – “How is it for audio, particularly mixing?”As others pointed out, we are a track based mixer as opposed to a clip based mixer. We do understand that many FCP and Avid people want a clip mixer and we will see what happens. That aside, the audio capabilities of Premiere Pro are pretty good and much more advanced than other tools in many ways. submix, inserts & sends, and some solid post automation including touch and latch are a couple of the things I like.
As for audio handling, I really like to think that with this release we have taken a leadership position. We’ve always been able to handle unlimited tracks, but now we’re handling multi-channel audio much more effectively. For example, I can handle 8-trk AVC-Intra clips and express the audio in ANY way I want – 4 stereo, 8 mono, single 8-track wave or any combination. Same on output. Really happy about that one. It’s a bit complicated to grasp at first, but once you get it, it’s really super.
Lance – Audio + Audition
round trip behavior between Audition and PRemiere Pro remains the same which is pretty good. Audition got a bunch of cool features including our auto dialog alignment tool which is great for ADR.
Chris Harlan on clip volume
Yes, you have clip based adjustments available on the clip itself in the timeline. Not quite the same as a clip-based mixer, but not awful.
Adobe moving into the high-end
I’ve replied in other threads. Will summarize by saying we are making significant strides and seek to win the trust of Hollywood and other film makers. We’re in deeply in broadcast and growing that now.
Walter “One thing I’d mention, though — a lot of people are comparing Pr CS6 to the erstwhile FCP8, but I think it’s important to remember that this is not actually FCP. There are a few differences (like the natural inclination for all-native workflow and the attendant render upon output, for example) that FCP users will have to learn, but I think Adobe has done an outstanding job of improving Pr (and incorporating some good ideas from other NLEs) without losing their own philosophy on editorial.”
TOTALLY agree. Adobe wants to intelligently support the most important aspects of other applications while giving users innovative and new ways to do things where it makes sense. The trimming in CS6 is a great example of where we attempted to adopt much of what made Avid trimming great but also make it better, easier and intuitive to grasp as well.
Franz “I’m encouraged by what I hear and see but still skeptical until the test of practice, particularly with respect to large projects and also audio handling / mixing.”We agree which is why we want users to use the free trial when they need a good evaluation.
David Jahns – Adobe solutions on NVIDIA are terrific and the Speedgrade solution there is VERY nice. however, I agree that not having support for AJA, BMD, Matrox, etc is a bummer. Fact is, that we just didn’t have enough time to do what we wanted with Speedgrade. We have a long list of future enhancements and one of the top ones is definitely other card support.
Herb – I’d suggest you spend some significant time with our three-way color corrector which is really what the main feature of Symphony vs. MC6 is all about (at least as I understand it).
Okay – back to some email… sorry!
Dennis – Adobe guy
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Here’s a professional success story that just hit today.
https://provideocoalition.com/index.php/adobe/story/premiere_pro_cs6_keith_urban1/ -
[Eric Santiago] “Its in the wild with both awesome accolades and the obvious demo bug.
Will we ever learn not to delve into new software without first testing on prisoners :(“I didn’t see any demo bug other than the fact that the link for downloading a trial was disabled. Am I missing something?
Dennis
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Hi all,
Busy prepping for a demo in Bristol so I will attempt (ha!) to be brief.
– This video is comparatively old and was released almost a year before FCP X shipped.
– Our 2011 Production Premium sales numbers (post FCP X) are not completely public, but I will say that we did very well – on par with what we did in 2010 (the video link at the top)
– Top tier broadcast. We’ve talked about CNN, BBC, Hearst, etc for a while now. Media General is also there. In the CS6 press release, there is mention of CBS Sports Network, NRK, etc. Here’s the link: https://www.adobe.com/aboutadobe/pressroom/pressreleases/201204/AdobeCS6ProductionPremiumNAB.html
– Point is that YES, we are in top tier broadcast and working hard to get more. Are we #1 – no… but we aspire to be that by continuing to do what many hear have mentioned – listen to our customers and deliver against their needs.
– How software companies count their seats is always a study in funny math as we all know. All three major NLE claim majority share somehow. 😉 I will say that I *think* we are the most transparent. Regardless, well over 2 million seats is a lot by any stretch – all the more when you consider that some companies talk about 2 million seats after 10 years. With a 20+ year history, Premiere Pro numbers would be huge if we counted all the way back to Premiere 1.0! 😉
– At the end of the day, its what does the tool do for you – not who’s tool you’re using. I’d rather focus on making the best NLE and edit tool for as many of you as possible rather than worry about who is #1. Adobe feels that if we do the first thing, the other will naturally follow.Thanks,
Dennis – Adobe -
[Lance Bachelder] “You realize just how good Steve Jobs was when you watch others try to captivate an audience…”
Indeed – there was not such a show man since PT Barnum and I say that in the very best of ways. That was one of Steve’s innate strengths.
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[Herb Sevush] “They are, they’ve posted their increase in seats and it’s up over 20% last year, and that’s before PPro6.”
…and much much more so on the Mac platform specifically.
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As a US guy, I really have NO exposure to different pricing outside of the US and am very uninformed about it. However, I will add to one thing here and hazard a guess on the other…
1 – $29 is an introductory offer to existing users as an incentive to go with a subscription. My understanding (again possibly flawed) is that the $29 is ongoing until you decide to turn it off. At that point, whatever the going rate is ($49, $69 whatever depending on what you have) would be what you get going forward from there. In other words, we’re trying to give everyone a very sweetheart deal but once you do, I think you want to stay with it otherwise the price will go up. Even at $49.00 per month, that’s basically $600 per year, that’s a lot less than a shrinkwrap copy – more so when you consider that we will have a new version every year. The value of it is pretty cool and you get access to web and design tools which if you need once a year, are great to dip into and have.
2 – pricing around the world: I really have no idea but the VAT is definitely a big part of it. If I were to guess at the other $4 per month (or whatever it is), then I would say that it is due to exchange rates and Adobe maintaining offices and distribution points around the world. I know it stinks but it works the same way around the world. I understand I can get a Mercedes-Benz a lot cheaper in Germany than in the US – go figure. 😉
Again as a disclaimer – I know nothing of Adobe finance, world finance rules or any such thing. Just trying to offer up a possible explanation.
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[Lance Bachelder] “We asked the HP rep about Thunderbolt and it really isn’t on their rada”
The HP people I talk to has it on their radar.
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I doubt it would have a changeable graphics card like the Z1 which I certainly like. And, I think USB3 would be nice for compatibility despite thunderbolt’s goodness. three thunderbolt’s would necessitate two discrete chips as I understand it, so I think two will be what your box might be like. Otherwise, I think it plausible.
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[Chris Kenny] “everything is going to end up getting fed into some color grading system that isn’t part of Adobe’s ecosystem in the end anyway.”
[Chris Kenny] ”
Yes, but again, a lot of production workflows aren’t the sort of end-to-end-under-one-roof affairs that make this kind of integration work. Often when an indie feature starts cutting, nobody on the production has any clue what facility will be grading the project or what software they’ll be using, and the offline editor wouldn’t pick a particular NLE just to make things easier for the online facility even if they did know.”My point was to correct a potential thought that Adobe does not have color grading as a part of our ecosystem. Indeed we DO have a color grading application. That was all. I get your point about not necessarily having dedicated workflows in types of production and I will not debate the correctness of it. 😉