Illya Laney
Forum Replies Created
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I totally get your point, I was just being cheeky. I personally like the Canon’s even though it’s a bit harder to grade bad footage. There’s definitely a lot of situations where their size and low profile come in handy.
Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
(Seriously though, that’s the name on the paycheck) -
I’ve always had the Adobe products installed on my systems, even before I had FCP installed. Just because I don’t use Premiere doesn’t mean I don’t own it. It comes bundled with the Production suite and CS5 is an upgrade away.
Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
(Seriously though, that’s the name on the paycheck) -
“The real question is how well it does each task. Can any CS5 fans tell us what it does better and how?”
Stop taking this so serious. That was a quote from someone else. Re-read the thread.
My original statement…
“I can tell you what FCP does better than Premiere. It’s better at getting clients.”
You’re advertising all of Premiere’s features, not how it gets clients in current market. You still haven’t answered the question.
To respond to your other points…
“If a client needs you to edit the Red One R3D codec with FCP you have to transcode the file into the Apple Pro Res. That wastes the clients time. With Premiere Pro CS4 I can edit the natvie Red One’s R3D codec. CS5 will allow for multiple layers at 4K resolution with effects.”I was editing with R3D quicktime proxies over two years ago, before CS4 even came out, so NO, you don’t have to transcode the file “into the Apple Pro Res” as you put it. The last job I did for LG, I was editing R3D proxies on set with my laptop 10 minutes after Hayden Panettiere finished shooting.
As far as the Mercury Engine goes, Adobe has been really quiet about the exact requirements for full real time 4K playback and effects. I know the price is going to be steep for a PC that can actually handle it and there aren’t going to be any people editing 4K on a laptop with fire wire or esata. Just look at the requirements for a Resolve to grade 4K in real time, and that utilizes multiple graphics cards just like the Mercury Engine. Why would you edit with full 4K resolution anyway? I don’t know any normal cards that support 4K to 4K monitoring with R3D besides the Red Rocket and that’s not going to work on a Mercury Engine system.
In regards to Adobe, I know what it offers in regards to Photoshop, After Effects, and Illustrator. I do compositing, grading, and motion design for a living. As for Color, I think you should go to the Color forum and start talking about Premiere’s superior grading capabilites.
What market do you work in by the way?
Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
(Seriously though, that’s the name on the paycheck) -
My favorite is
“Premiere Pro can mix just about any type of codec you put on the timeline where as FCP needs everything converted to the Apple Pro Res.”
Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
(Seriously though, that’s the name on the paycheck) -
I understand you’re getting an Avid system, and I believe that’s a good move, but are you going to try using Premiere with clients before FCS 3 comes out?
I’m not trying to be rude or smart with this question, just honestly curious to see what everyone’s actually going to do in the next few months.
Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
(Seriously though, that’s the name on the paycheck) -
“When the script calls for shot an inch above the road at 70 mph, you feel a whole lot better about having a cheapie with you. ”
At 70 mph you’d have to deal with that wonderful rolling shutter issue. Time to throw it into Nuke. Haha.
Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
(Seriously though, that’s the name on the paycheck) -
“I lost clients because that was back with FCP 1.2.5 and Atlanta was an Avid town. Media 100 cost me clients too because the Avid editors had done such a great job of telling everyone who would listen how bad of an editing tool it was even though the codec was better than Avid.”
I just read your post again. Doesn’t this prove my point? Just replace the words Avid with FCP and FCP/Media 100 with Premiere.
“I lost clients because that was back with Premiere and Atlanta was an FCP town. Premiere cost me clients too because the FCP editors had done such a great job of telling everyone who would listen how bad of an editing tool it was even though the codec was better than FCP.”
Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
(Seriously though, that’s the name on the paycheck) -
“I doubt that was the case when the application was first introduced, the days when Avid and Media 100 ruled. I suspect the shops who adopted FCP early on got a lot of laughs.”
I was around during the transition so I remember when people started using FCP. When our film department at UCSC replaced Media 100, we started using the first edition of FCP.
On to my original point, and you have to admit, in the current market you’d lose some clients if you started advertising that you were using Premiere instead of FCP.
Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
(Seriously though, that’s the name on the paycheck) -
“No it’s not. It’s the artist and the facility that gets the clients. Put a lousy editor in an FCP suite and you’re not going to get any clients. Put a lousy editor in an Avid suite and you’re not going to get any clients. ”
I completely agree, but you’re talking about something completely different. I’m talking about FCP versus Premiere, not skill versus tech. It’s a completely different conversation.
I’m also talking about right now, the current market, the present, not the future. I work in advertising regularly for Sony and Adidas where all the producers and DP’s have FCP installed on their machines. In my market if I was editing using Premiere I wouldn’t be working. If you think you could gain more clients using Premiere rather than Avid or FCP right now, then you’re in a very special market.
To address one of your other points, I’m sure there are a lot of lousy Premiere editors out there too, probably a greater percentage than professional FCP and Avid editors. The reasons should be obvious, one of which is the fact that they probably don’t get nearly as much editing work than an FCP or Avid editor. I’m sure you’ll agree, time and experience have a lot to do with most editor’s skill.
Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
(Seriously though, that’s the name on the paycheck) -
I was quoting Arc, the 64 bit statement wasn’t mine.
I agree, most Adobe users have no idea about the difference between 32 and 64 bit and I don’t think anyone’s going to migrate to Premiere just because of that. People still don’t even really know how stable it’s going to be.
Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
(Seriously though, that’s the name on the paycheck)