Dennis Radeke
Forum Replies Created
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I think the honest fair answer is that you should learn and know as many NLE’s as you can as honestly a particular NLE might be more suited to a given project than another.
That said, in the US, Premiere Pro is being used at CNN and at Hearst Television (a 30 station group in the US), with many more that are non-public. You can find the press release stories on the above two at the Adobe site.
My main gig at Adobe is to support the large broadcasters and entertainment companies in the US and I can tell you I was very busy before FCP X and I’m insane now. So, Adobe carries it’s weight and worth just like FCP and Avid.
Know all three NLEs if you can and use the one you like most.
Dennis – Adobe guy.
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Anything I say will simply be a tease because I cannot and will not comment on future products.
I will say that a) we do understand color (Photoshop, InDesign, Lightroom, After Effects, Illustrator) and b) know that more sophisticated color effects/solutions would be good for our customers.
See, it was a tease…
That said, I think there are a LOT of great solutions out there for Premiere Pro users today. They include:
– Premiere Pro’s 3-way color corrector: the UI is clunky, but functionally, it is quite good.
– After Effects Color Finesse – bring your Premiere timeline into After Effects and grade it there. Finish and render via AME…
– Red Giant’s Colorista II
– Red Giant’s Magic Bullet Mojo/Looks/Suite (pick which version you like)
– the forthcoming DaVinci Resolve Lite (FREE!)
– more expensive dedicated grading systemsCheers,
Dennis -
That’s great news Richard. We’ve been working hard with universities to incorporate Premiere Pro into the curriculum and have gotten half of the top US film schools to adopt it, with many more on the way. We (Adobe) believe that we need to hit both sides (high-end post & broadcast and education) simultaneously. Broadcasters need talent, students need jobs. It just makes sense.
Dennis
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I agree Tim – this should be a hit with users all over. I spoke to Blackmagic about the details and for a ‘free’ product, it should be downright amazing.
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[Craig Alan] “Adobe could develop a 64-bit FCS 4”
We did – it’s called Premiere Pro CS5/5.5. 😉
Sorry couldn’t resist.
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[Steve Connor] “my 8 core Mac Pro with 8GB RAM”
That’s your problem. You’re not giving your sweet 8 core Mac enough memory. With FCP 7 you had 2 cores being used so each core had plenty of memory with some left over for OS, etc.
with Premiere Pro, you can use ALL of your CPUs and consequently they’re not getting enough RAM goodness to make Premiere Pro run like many others are reporting.
If you haven’t switched yet, I’d recommend buying at least another 8GB of RAM and give it another go. If you don’t go with Premiere Pro, that extra 8GB will help you out with any other 64-bit NLE on the market, so I think it’s a good investment.
Hope this helps,
Dennis – Adobe -
[Gary Huff] “And you really need a supported NVIDIA card for the best performance.”
Well, I would substitute ‘should’ for the word ‘need’. In this case, I believe there is a big difference. You don’t NEED it, but it is nice to have. I detail this here: Premiere Pro on a Mac
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The biggest thing about Premiere Pro for Mac or PC is making sure there’s enough memory to really drive it. I’ve seen 8 core systems have 4GB of memory and that’s just wrong. 😉
Other than that, the standard stuff applies to all pro apps.
– clean install
– all the current drivers
– system drive + second drive(s) for mediaPing me if you want to discuss.
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[Hector berrebi] “but Avid’s DNX is actually optimized for MXF, is it so complicated for premiere to properly support it? (it does somehow, but less than satisfactory)”
Indeed you’re right. Avid’s DNX is simply a licensing issue and therein lies the challenge. Our support of it exists through Avid’s Quicktime Avid Codecs LE pack which supports QT wrapped Avid files but not the native MXF.
[Hector berrebi] “i thought MXF was rather open…
RED’s free REDCINE-X does a great job writing them for one… and there are many other tools around to read and write these files..”You could say that MXF suffers from being TOO open. I actually sit on the AMWA board (Advanced Media Workgroup Association). This is what the AAF became (long story). Essentially, the mission of AMWA is to create useful specifications by putting constraints on what you put in your MXF.
[Hector berrebi] “for a short wonderful time it was even possible to open Avid’s AAF in premiere and link to media… now its broken… last time i checked it worked only for DV files…”
This is true. When Avid introduced AMA to Media Composer 5.0, it broke our workflow. We’ve been evaluating the limitations and ways to provide a robust interchange between Avid and Adobe much as we have between FCP (XML) and Adobe.
Since we’re talking MXF, Adobe outputs Panasonic P2 flavor MXF with associated file structure and Sony OP1a MXF. For editing, we support P2/AVC-Intra, XDCAM-HD.
Hope this helps.
Dennis -
[Tim Wilson] “A big difference, though. Adobe DID drop Mac support when Premiere Pro was introduced in 2003. BOOM, gone, no Mac support for what used to be a Mac-only product. No warning. Gone, overnight. No path forward except on Windows. For FOUR YEARS.”
While I wasn’t at Adobe at the time I can say that part of the reason that they didn’t immediately move to Mac was that they were doing a complete re-write of Premiere at the time which became Premiere Pro 1.0. The enormity of that task coupled with FCP’s rise may have accounted for Adobe initially being Windows only.
By Premiere Pro 2.0, we were hearing loud and clear that Mac people wanted in on the action and beginning with Premiere Pro CS3, we once again became cross platform and have no intention of moving from that position moving forward. With CS5, Adobe did another complete rewrite and ported Premiere Pro and After Effects to 64-bit on both platforms, so we have a solid foundation from which to build on for years to come.
Sorry for the mild history lesson,
Dennis – Adobe