[Rob Cioffi]

John,

Very good points. Allow me to address them.

[John Rofrano] “So you are OK with the subscription model and the fact that you pay annually for new releases whether you need the new features or not, and when you stop paying the software stops working and you can no longer open your projects? So if you were coming the other way from Premiere to Vegas you could not, for example, go back 6 months later and make adjustments to a Premiere project unless you paid Adobe more money for the privilege of doing so. And you have no problem with that? (‘cuz I can agree to being held hostage like that regardless of how good the software is.)”

Yes, the subscription model is hard to swallow. I guess the upside is if I was in need of Premiere for a legacy project in the future I have the option of only having to pay a month at a time for the privilege. Right now I subscribe for to CC for my web business so Premiere and AE are just sitting there in my toolbox whether I use them or not.

[John Rofrano] “So if Sony came out with Vegas Pro 14 this year you would stay? (just asking’ ‘cuz NAB is just around the corner and that’s when new releases usually happen)”

I suspect if anybody knows whether SVP 14 was going to drop this year (or even still in new feature development for a new version) it would be you, John ;). The answer is yes, I’d stay with Vegas as my primary tool if Sony Creative was actively developing it as a competitive NLE.

[John Rofrano] “Well… the Hollywood feature film Focus was edited on Final Cut Pro X, and the A&E documentary O.J. Speaks: The Hidden tapes was cut on Final Cut Pro X, and the Emmy Award winning Harlem Globetrotters documentary was cut on Final Cut Pro X and according to this video (at 4:50), Final Cut Pro X is 5x Faster than Premiere Pro on the same hardware. So why not Final Cut Pro X? …at least you “own” if forever! 😉
“

I’m an old IT guy with a Windows bias. I sold a top of the line iMac last year because the only thing I used it for was for playing around with FCPX and as a prop for clients. My guess is I could build a super-powered Wintel box that had Premiere matching FCPX performance for less than the cost of the Apple hardware. But that subscription model does suck.

I’m going to spend a few months working with Premiere – if only to broaden my skill set. I’d love to see SVP 14 announced at NAB. I’d have piece of mind back.

Thanks again John for taking the time out to respond.

[Rob Cioffi]

This has been a great discussion and has given me a lot to think about. There may be work out there for a full-time Vegas editor but I’m not going to count on it. Sony Vegas has taught me a lot about editing through dozens of projects and I’m confident I could cut a feature-length film with it (Here’s one of my greatest learning experiences – 100% cut, vfx, sfx, and sound mixed with SVP – https://vimeo.com/93269411)

I’m currently working on 3 projects (One web-based series, one documentary series, and a sitcom) using SVP. But I’ve decided to move over to Premiere for any new projects. I suspect it will slow down my workflow for a while. It’s pain well worth going through.

I started editing with Movie Maker way back when then switched over to Pinnacle to edit a 3 DVD video of a family cruise. When I bought an AVCHD camera I was forced to move out of my Pinnacle comfort zone and use SVP as my main editor.

The move to Premiere reminds me of my move from Pinnacle to SVP. Premiere seems to me to be a more advanced editor (especially when combined with After Effects). I’ve got thousands invested in SVP versions and plugins but most of what I use are available for Premiere and what I may lose will probably be made up for multiple times over by Adobe resources.

The biggest decision factor is that SVP 13 is probably the last major release of Vegas. Sony seems to be focused on Catalyst, which is great, but it will probably take years for it to catch up to the major NLEs.

The nail in the SVP coffin was hearing today that the Coen Brothers cut “Hail, Ceasar!” on Premiere.

I’ll probably use SVP for quick hit and runs for a long while. It’s a great tool. It just feels like it’s time to broaden my skills.

[Rob Cioffi]

Hi Tim,

Just sent you a link and contact info. Have a great night..

[Rob Cioffi]

Where did you purchase said machine?

[Rob Cioffi]

Are there any majors (feature film or TV shows) using Sony Vegas in their workflow?

[Rob Cioffi]

Thanks John. Once again you’ve gone above and beyond. So….

Ok. That worked… kind of. When I use the Track FX button in the empty track’s header to add an FX it does NOT work. But if I drop the FX on the empty track’s timeline it will apply the FX to the child tracks. (I’m using Vegas Pro 12 BTW.)

It also does not seem to let me create an FX chain. It only applies the last FX added to the child tracks.

I’ll mess around with this over the weekend to see if it something on my end.

[Rob Cioffi]

That’s very close to what I’m talking about Mike. Thank you. AE seems to have quite a bit more control of its interpolation envelopes.

[Rob Cioffi]

Thanks so much John. I did play with that setting to no avail. I fixed it by upgrading to Windows 10 and then upgrading my Nvidia driver. After that I could see a display setting that said the monitor was over scanning at 150%. I turn it down to 100 and all is well.

Have a Happy New Year!

[Rob Cioffi]

It seems like AVS Converter 8.3 is doing the trick. Thanks.

[Rob Cioffi]

There are some references to Cineform Neoscene being able to do this but it’s no longer available.