Dennis Radeke
Forum Replies Created
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[Chris Kenny] “editors in our world choose software they enjoy using (because they’re going to be cutting with it for months)”
agree 100% and that is our goal. We will not please everyone, but we are making significant progress to that goal.
[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.”
Have you heard about Speedgrade?
https://success.adobe.com/assets/en/downloads/guides/SG_CS6_Intro_Reveal.pdfhttps://tv.adobe.com/watch/no-stupid-questions-with-colin-smith/introduction-to-speedgrade/
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[Chris Kenny] “Adobe wouldn’t suffer all that much without Premiere. After all, it hasn’t been taken very seriously to date, and they’ve been doing just fine. It’s not clear how many additional copies of Creative Suite Adobe can even sell by improving Premiere. For instance, if we decided to migrate to Premiere here, it would result in zero additional sales for Adobe, as the systems we’d use it on already have Creative Suite licenses which were purchased to get Photoshop/Illustrator/AE/Encore. This is probably true for a lot of potential Premiere users.”
I think many people miss what I consider to be the main point – namely the workflow of Production Premium in its entirety. In this case, Premiere Pro is the ‘hub’ application – where things like After Effects, Photoshop and others feed into the main organizational, story-telling tool.
From a business side, lacking a serious NLE client in the suite WOULD hurt sales because it would be incomplete. While Avid, FCP, et al users wouldn’t be affected, there are many MANY who would.
Your statement of using Premiere Pro would increase Adobe sales by zero is true for you and others, but for many larger organizations who are determining which NLE to use in the future, they have different groups like graphics vs. editorial that would result in new seats. As a person who primarily focuses on broadcast and large media companies, I’ve seen many different variations of this over the last couple of years.
The above is a statement of 2010’s growth in video – prior to FCP X. I can tell you that our growth for 2011 with FCP X out in the wild wasn’t too bad either. 😉 That growth had to come from somewhere and I would tell you that it’s my personal belief that it comes from a complete suite of tools and workflow that are most compelling to those users who purchased Production Premium in the last two years.
While you may dismiss Premiere Pro (and that is your prerogative) , there are evidently a number of people who are taking Premiere Pro seriously in the pro market.
Respectfully,
Dennis – Adobe guy -
Unfortunately, I’m stuck in meetings all day and wearing a jacket but if you see and know my mug, introduce yourself!
Dennis
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[John Davidson] “1. Does Premiere Pro 6 have an option for adjustment layers similar to how they work in AE?”
Yes.
[John Davidson] “2. Will PPro or AE now allow for multiple open projects simultaneously? Not importing, but actual separate projects open?”
No. We can import part or all of another project but we cannot open multiple projects at one time. We are aware of many FCP users wanting this kind of thing.
[John Davidson] “3. Can independent audio clips in PPro have their levels adjusted as in FCP without affecting the whole track?”
No. Premiere Pro is a track based mixer – not a clip based mixer like FCP legacy. You do have clip based keyframing on the timeline, but the mixer is track based. We know this is a very high feature request among many users. Premiere’s automation and audio handling capabilities are very high – I would argue better than anything else out there, but I (and Adobe) definitely know that this is something that is different and potentially troubling to FCP users.
[John Davidson] “4. Do the 6750M AMD enhancements also apply to iMacs containing that card?”
The cards we offically support are listed on the website. If it is not listed, there are ways to work around this, BUT we have to be clear and say that it isn’t supported. We want to allow everyone to experience the GPU goodness, but we can’t keep ahead of all the new cards that are popping out all of the time. I hope that we’ll add some iMac type ATI cards to the officially supported list soon. until then, you can search the web for the workaround which I find to be just fine.
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[Dustin Parsons] “1) Will Premiere Pro 6 have the ability to apply motion blurs to moving objects?”
No – that’s an After Effects thing for sure. Dynamic link here for sure.
[Dustin Parsons] “2) Will Premiere Pro 6 be able to keep folder/file hierarchy when importing a folder that has subfolders?”
If I understand you correctly, I’ve seen the answer be both yes and no depending on the version. I haven’t checked yet on CS6. Remember, if you’re using file-based media, you want to use Premiere Pro’s media browser to bring in the media as it will be a more efficient workflow for most people.
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[Dave LaRonde] “Will there be complete and total support for Open GL acceleration when rendering, no exceptions, no ifs ands or buts?
My advice to people has alway been, “save yourself a lot of grief and confusion — Turn Open GL off for rendering, and leave it off.” Do I continue to offer that advice?”
With CS6, we’ve tapped into the Optix engine from NVIDIA for 3d Ray tracing and extrusion. We’ve also added some different preview options to allow for flexible workflows.
To your question for always on/off – OpenGL prefs are changed in AE CS6 and I don’t see a way to turn them off…
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All good feature requests to file here:
https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform
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[John Czerwinski] “One of the features in our work flow is custom templates. For the moment we are using FCP 7 with Motion templates that has an animation (buillt in AE) and a phone number and website. Once we build the master commercial we build out versions using Motion templates adding the lower third in FCP 7 and changing the phone number and website within FCP 7. Has a similar feature been added to Premiere or dynamic linking?
The work around in 5.5 I found was to have one layer for the animation and one layer for phone number built using Premiere’s graphic program. Not exactly the best work flow but it could work.”
I think the short answer is no – we haven’t done the workflow like FCP+Motion as of yet. There are however a lot of workarounds. The one I’d probably do (using After Effects) is to use a spreadsheet or comma deliminated file to make substitutions for your file for multiple render outputs. If you just need to change it periodically (not multiple times in one shot), then dynamic link by itself should work handsomely.
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[Michael Hancock] “Does Premiere have Auto Patching in the timeline now? Example: If I have source V1 patched to Record V1, uncheck Record V1 and check Record V3 does V1 automatically patch to V3? If not, has anything changed in how Premiere patched video/audio tracks?”
No, and we know we need to address track targeting.
[Michael Hancock] “Can you use the keyboard to move selected clips to a higher or lower track?”
No, you can move clips left/right, but not up/down. We saw this pop up late in the beta cycle by a lot of FCP users. We took note, but it’s not in CS6
[Michael Hancock] “Can you load a sequence into your source monitor and cut it into the timeline without it nesting – I’d prefer to have access to all video/audio tracks in the loaded sequence to repatch to the timeline.”
This is an Avid feature and again, no – couldn’t get to that one.
[Michael Hancock] “If I load a clip with 4 mono tracks in my source monitor but have all stereo tracks in my timeline, does Premiere show me that I have 4 mono tracks on the source side? Right now it doesn’t show those tracks available for patching if I don’t the proper audio tracks available for the clip.”
With regards to audio, Premiere Pro will let you do just about anything you want with it. You could take your 4 audio clip and display it nearly any way you want: 4 mono, 2 stereo or 1 ‘adaptive’ track that holds all 4 audio as a single track instance.
For source side viewing you need to switch to an audio display mode if you want to see the wave form. The master audio meter in CS6 has also been done and toggles automatically between the source/timeline/program views. So, if your clip in the source has 4 mono tracks then the audio meter will display 4 mono meters.
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[Michael Aranyshev] “Dual system. Non-matching timecode. Clapper slate.”
For a dual system sound link up, we have a ‘merge clips’ feature that allows you to link separate video and audio together as a clip instance in the project panel. We introduced that in CS5.5
This link might help you understand if this is the right answer to your question.