An Adobe fanboy speaks

[Ray Tragesser]

Hi David,

One thing that I hope Adobe does before too much toasting happens, is to work closer with third party companies like AJA, Blackmagic Design, and Matrox to develop better drivers for their I/O products. While I appreciate the ability to work "Natively" with all of the different camera formats in Adobe Premiere Pro, the illusion is created by Adobe that all you need to do is hook up a secondary monitor to your GPU and life is great. The reality is that in any modern facility there is typically and HD-SDI pipeline for monitoring, routing, tape output, centralized machine room etc. The GPU monitor falls short in this type of situation. I have used all the cards personally and can say that the marketing on each of their websites looks fantastic but at the end of the day, the cards all suffer from different types of driver problems which limits the functionality of Adobe Premiere Pro. When there are multiple vendors involved in putting together an edit system (NLE Software, Computer Hardware, I/O card, Storage) it becomes very easy to say its the other persons issue.

Hopefully going forward Adobe can qualify I/O devices before allowing the card manufacturers to advertise they are compatible. It becomes a real waste of time chasing down issues that are known bugs.
Ray

 

[David McGavran]

Hi David,

One thing that I hope Adobe does before too much toasting happens, is to work closer with third party companies like AJA, Blackmagic Design, and Matrox to develop better drivers for their I/O products. While I appreciate the ability to work "Natively" with all of the different camera formats in Adobe Premiere Pro, the illusion is created by Adobe that all you need to do is hook up a secondary monitor to your GPU and life is great. The reality is that in any modern facility there is typically and HD-SDI pipeline for monitoring, routing, tape output, centralized machine room etc. The GPU monitor falls short in this type of situation. I have used all the cards personally and can say that the marketing on each of their websites looks fantastic but at the end of the day, the cards all suffer from different types of driver problems which limits the functionality of Adobe Premiere Pro. When there are multiple vendors involved in putting together an edit system (NLE Software, Computer Hardware, I/O card, Storage) it becomes very easy to say its the other persons issue.

Hopefully going forward Adobe can qualify I/O devices before allowing the card manufacturers to advertise they are compatible. It becomes a real waste of time chasing down issues that are known bugs.
Ray

Feedback heard... We are working closely with BlackMagic, AJA and Matrox (among others) on ways to make this better.

Cheers

Dave

 

[Mohammed El Sharqawy]

already responded about GCD so won't rehash it. Apple really didn't show enough for me to comment on. They didn't show playback, they didn't mention how they were using open cl, they said native but only showed h.264 and prores. They didn't show red. They showed some pretty ui features and good metadata handling. There are some nice ideas there but we are waiting to see an app to see what works and what doesn't.

We already have all sorts of pre-processing and background rendering. Warp stabilizer works in the background. Adobe Media Encoder can encode ae comps and ppro sequences in the background. Speech recognition works in the background, etc...

Well, I have a feeling that FCPX is towarded more to the ipad platform.. the interface is amazing.. but, we still have to wait and see..
one thing I have thoughts about, AME does things in the background, but, not everything.. things like rendering previews doesn't work through AME..
an AME integration into PPro would be nice, so things can be much automated outside the application.. getting previews in the background in a nice feature, especially for nested AE comps..

 

[Lauri Kettunen]

David, something on the Adobe wishlist: In Photoshop there is a lens correction option when opening raw files. Since many will use Epic with the Canon and Nikon adaptor, it would be nice to have the same in PPro and AE.

 

[Stelios Kokotos]

Feedback heard... We are working closely with BlackMagic, AJA and Matrox (among others) on ways to make this better.

Cheers

Dave

Being able to choose the Blackmagic HD Extreme card in the Playback Settings as an external device for playback of RED native projects would certainly be nice for colour correcting using SDI or component monitors!

 

[Stephen Gentle]

Well, I have a feeling that FCPX is towarded more to the ipad platform.. the interface is amazing.. but, we still have to wait and see..

What are you talking about? FCP is a Mac application that requires a large display, a mouse and a keyboard... It could hardly be less like an iPad application...

 

[alexx_hg]

Hi David,

I really like CS5, because of the redundancy of the RED RAW till the final render even with heavy embedded AE compositing.
But being here on PC there is a small but annoying disadvantage. Because for file delivery a lot of TV Stations only accept Prores 422. So I´ve to go for a tiff sequenz to bring it on a Mac for ProRes output.
I think FCP has a little advantage here because of this widely accepted ProRes as a delivery format. Something in your pipeline?

Ah, and Colourgrading was mentioned very often. While Colorista II could be the right direction, unfortunately the UI is a painful unuseable handling in PremierePro.
Now the announced Baselight Plugin for FCP sounds as a great idea, something similar is needed in PPro. And to widen the Idea, it would be great having the ColorGrading as a seperated Layer above the videotracks like an adjustmentlayer in AfterEffects.

and thanks for listening

bg
Alex

 

[shashbugu]

Hi David,

I really like CS5, because of the redundancy of the RED RAW till the final render even with heavy embedded AE compositing.
But being here on PC there is a small but annoying disadvantage. Because for file delivery a lot of TV Stations only accept Prores 422. So I´ve to go for a tiff sequenz to bring it on a Mac for ProRes output.
I think FCP has a little advantage here because of this widely accepted ProRes as a delivery format. Something in your pipeline?

Ah, and Colourgrading was mentioned very often. While Colorista II could be the right direction, unfortunately the UI is a painful unuseable handling in PremierePro.
Now the announced Baselight Plugin for FCP sounds as a great idea, something similar is needed in PPro. And to widen the Idea, it would be great having the ColorGrading as a seperated Layer above the videotracks like an adjustmentlayer in AfterEffects.

and thanks for listening

bg
Alex

Pro Res an windows is an Apple problem, not Adobe's. There are some third party solutions, I cant think of any of the top of my head. but if you google you will surely find it.
+1 on the Adjustment layers

 

[Oliver Peters]

While Colorista II could be the right direction, unfortunately the UI is a painful unuseable handling in PremierePro.

Not in Premiere Pro CS 5.5 now. It's very responsive - at least on Mac OSX. Now it is as easy to use as in After Effects.

- Oliver

 

[Paul J Steinberg]

Not in Premiere Pro CS 5.5 now. It's very responsive - at least on Mac OSX. Now it is as easy to use as in After Effects.

- Oliver

That's great news if ColoristaII works in Premiere CS5.5 as it does in AfterEffects CS5. As others have said, right now it's unusable in PPCS5 (Win7/64).

Looking forward to the May release of 5.5 now!

 

[Mohammed El Sharqawy]

What are you talking about? FCP is a Mac application that requires a large display, a mouse and a keyboard... It could hardly be less like an iPad application...

I should have re-phrased my sentence in a better way.. well, I mean not the current version of iPad of course.. or maybe they will produce a minimized version.. the interface is more likely to be a touchscreen optimized.. and the way you get the app is ipadish..
current tablets in the market won't be able to edit even in 1080p, but, that is "Current" , re-writing FCP X has a future.. which is some how visable to me in that way..
and don't get me wrong I love the new interface, its a notable advancement in every way..

oh, and btw, you still can use keyboard and mouse with iPad..

 

[David McGavran]

Hi David,

I really like CS5, because of the redundancy of the RED RAW till the final render even with heavy embedded AE compositing.
But being here on PC there is a small but annoying disadvantage. Because for file delivery a lot of TV Stations only accept Prores 422. So I´ve to go for a tiff sequenz to bring it on a Mac for ProRes output.
I think FCP has a little advantage here because of this widely accepted ProRes as a delivery format. Something in your pipeline?

Ah, and Colourgrading was mentioned very often. While Colorista II could be the right direction, unfortunately the UI is a painful unuseable handling in PremierePro.
Now the announced Baselight Plugin for FCP sounds as a great idea, something similar is needed in PPro. And to widen the Idea, it would be great having the ColorGrading as a seperated Layer above the videotracks like an adjustmentlayer in AfterEffects.

and thanks for listening

bg
Alex

We can export to prores when it is available. It isn't ever available on windows but you can use it from ae/ppro/ame on mac when the encoder is there.

Cheers

Dave

 

[Alexander Ibrahim]

I should have re-phrased my sentence in a better way.. well, I mean not the current version of iPad of course.. or maybe they will produce a minimized version.. the interface is more likely to be a touchscreen optimized.. and the way you get the app is ipadish..
current tablets in the market won't be able to edit even in 1080p, but, that is "Current" , re-writing FCP X has a future.. which is some how visable to me in that way..
and don't get me wrong I love the new interface, its a notable advancement in every way..

oh, and btw, you still can use keyboard and mouse with iPad..

I can see a "Final Touch Pro" application coming out one day, and I can see it being an effective assistant editor or on set solution.

Until we get a generalized touch interface for desktop computers, or until tables approach the compute capacity of modern day desktop workstations I don't see much chance a product like Final Cut Pro or Premiere Pro will go "Touch Tablet only."

When the tablets are fast enough however, it will be inevitable. Perhaps 2020?

What I see happening sooner is tablets and their descendants becoming touch control surfaces for NLE and DAW workstations. (DAW Workstation? That's redundant ... sorry.) You can see the forefront of this with Tangent's touch color control app for iPad, which has a good feel with iPad 2 at least. (Surely it works fine with iPad 1, but I haven't tested it.)

 

[Mohammed El Sharqawy]

I can see a "Final Touch Pro" application coming out one day, and I can see it being an effective assistant editor or on set solution.

Until we get a generalized touch interface for desktop computers, or until tables approach the compute capacity of modern day desktop workstations I don't see much chance a product like Final Cut Pro or Premiere Pro will go "Touch Tablet only."

When the tablets are fast enough however, it will be inevitable. Perhaps 2020?

What I see happening sooner is tablets and their descendants becoming touch control surfaces for NLE and DAW workstations. (DAW Workstation? That's redundant ... sorry.) You can see the forefront of this with Tangent's touch color control app for iPad, which has a good feel with iPad 2 at least. (Surely it works fine with iPad 1, but I haven't tested it.)

First the "Touch Tablet Only" is from your addition, I never said only.. but, well, you opened up few interesting things..
having a "Final Cut Touch" version will be very useful, and I think this would be not more than two years from now.. maybe you'll see it next year.. as speaking 2020, fast enough tablets for final cut pro will be history.. silicon future says that by 2022 we'll be seeing a chips that is capable of computations that equals to the cumulative human mind, that is far away from editing some 8K videos on a tablet.. this year we'll be seeing 2GHz+ tablets..

for the generalized touch interface, well, now I can see Magic trackpad from apple and Bamboo touch from Wacom.. other companies? touch for desktop, encouragements to train people on using touch interface, trying to make tablet only users able to interact easier with desktops, those are the taglines.. and another tagline is that keyboard and mouse are outdated interfaces to interact with todays computers.. and of course what you're mention of using tablets as an input interface for worksatations..

and plus, iPad 2 is waiting for a nice editing app, not sure which currently are available..
the magnetic timelince of FCP X is an iOS inspired feature.. they seem to me that way.. or maybe I'm too curious..

 

[Mohammed El Sharqawy]

It seems that the touch interface is going for real:

http://www.adobe.com/products/touchapps.html?promoid=ITKJK

 

[Kujtim Ereqi]

Cool..

 

[jake blackstone]

We can export to prores when it is available. It isn't ever available on windows but you can use it from ae/ppro/ame on mac when the encoder is there.

Cheers

Dave

David. I beg to disagree. Nucoda FilmMaster runs on Win7 and now they can write Prores.
May be Adobe just needs to ask Apple nicely?

 

[Brad Allen]

I would love it if PC could write to ProRes too.

Maybe I'm a bit cynical in thinking that Apple isn't going to want to give their users any more reasons to switch NLE and OS though.

 

[jake blackstone]

You mean Windows? An application, like Nucoda's FilmMaster, shows, that it is possible to write Prores on Windows. Hasn't Clipster been doing it as well for a while now? But even on Mac it is not as straight forward, as it seems. You need FCS 3 installed in order to be able to write Prores.

 

[Uli Plank]

Not any more – if you are on Lion. Ge the codec updater and install the codecs with the help of Pacifist…