Here at The Division we create reality TV.  We have a couple shows on air right now, and a few in development.  Since the very beginning of our company, we've been all about Final Cut Pro for editing.

About 6 months ago, our company made the decision to switch to Adobe Premiere CS6 as our primary editing app.  So for the last half-year or so, we have a few thoughts.  Here's some of the features in Premiere CS6 that we have grown to really love...

Mac or PC

Don't get us wrong, we love editing on Mac, but it's no secret that you can get a similarly spec'd PC for a fraction of the price.  Premiere runs on Windows or OS X, so you can set up an editing station for much less money.  That's great if you're on a budget!

Hover Scrub

We deal with hundreds of clips every day.  Most of them are simply labeled with the date, program name, or take number.  It takes a lot of time to be descriptive when logging footage, so we tend not to do it.  Hover scrub to the rescue.  We can simply open a bin full of takes, and hover our pointer over the thumbnail to preview the clip.  This shaves LOADS of time off our editing process.

Liquid Interface

We all have different layouts we like in a program.  Some like a big screen, some make it small.  Some want tons of room on the timeline, some not so much.  Whatever your tastes, you can customize the layout of Premiere with a simple drag and drop.  Granted, many programs offer this feature, but few have perfected layout management as well as Adobe.  Love this.

Adjustment Layers

Want to apply a quick curves adjustment to all of your clips?  Throw an adjustment layer over your timeline!  Coming from Photoshop & After Effects, we have always wanted something like Adjustment Layers in an Non Linear Editor (NLE.)  This really is one of our most loved features in CS6.  No more copying effects to multiple clips, deleting them, re-copying, adjusting, re-copying again.  Adjustment layers give you a simple way to control the look of your whole project with just one layer.

Premiere Can Open Just About Anything

One of the most impressive features of Premiere is its ability to open nearly any file you want.  From typical ProRes Quicktime movies to untranscoded AVCHD .MTS files, from jpegs to photoshop artwork, from .MP3's to.H264's.  Premiere does it all.  Not only that.  You very rarely (if ever) have to render your files for playback!  This is a world of improvement over our FCP7 days.

Mercury Playback Engine

That brings me to my next point.  Mercury Playback is freakin' amazing.  Depending on your hardware, you can play just about anything in real time.  We have been editing one of our shows using the untranscoded full res h264 files strait out of our DSLRs.  No proxies, no transcoding.  That's a timesaver.

Actually Uses Hardware

And that brings me to the next point, Premiere actually uses the hardware you put behind it.  Unlike FCP7, which maxed out at 2Gigs of RAM/Core, Premiere takes all the memory, processors, and graphics power you can shove in your workstation.  Thats a great thing when we're using our spec'd out Origin PC. Wow, that upgraded RAM actually did something!

Audio Track Effects

Want to add a quick compressor to your audio mix.  No problem, just add it to the tracks you want, or even to your master track.  No more round-tripping to do audio work.  Although if you're serious about doing major audio work, Premiere round-trips nicely with Audition CS6.

Renders Fast

We are still amazed at final render times.  Where you could wait 45 mins for FCP7 to render a 5 minute clip, now we are seeing some of our sequences render in real time or faster out of Premiere.  No more extended lunch breaks!

Dynamic Link

Sometimes you have to make a little adjustment to a shot in After Effects.  Premiere makes it simple.  Right click on the clip and "Replace with After Effects Comp"  Boom.  It opens in AE, do your work and just hit save.  Now go back to your Premiere timeline and the clip is replaced with a linked AE comp.  No rendering.  Awesome.  There are similar workflows with Audition too.

The Bottom Line

All in all, our switch to Premiere has been pretty smooth.  Everyone here at The Division has been repeatedly impressed with what CS6 brings to the table. With CS6's increased performance, features, and Creative Cloud pricing, Premiere now seems to be the obvious choice if you're looking for a new NLE.
 


Comments

Gabriel Spaulding
12/21/2012 10:20pm

Try comparing Premiere Pro CS6 to Final Cut Pro X, Apple's modern day editing software. Final Cut Pro 7 is years old, and not a fair comparison. I use CS6 and FCPX daily, and they are both great in their own ways. Hover Scrub is ridiculous, though, compared to Skimming and Clip Skimming in FCPX. And if you used FCPX you'd find that you do suddenly have time to log and organize all of your media because it takes no time at all now. Also, you can use Motion to publish your own Adjustment Layer effect, and it takes about one minute to create. Color scopes in Premiere are ancient compared to FCPX's gorgeous, and dynamic, scopes, which display luma and chroma simultaneously and in real-time. Configuring multitrack audio is also much simpler and more intuitive in FCPX.

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05/09/2013 9:02am

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Ryan
05/16/2013 1:46pm

Can you comment on how you structure your shared environment between editors? Importing sequences worked on by another editor copies all of the footage, even if it's in the current project, and creates a lot of redundant media in the project panel. Been struggling with this. Curious how you approach it. By the way, great blog!

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05/16/2013 2:13pm

We have several editors working on "Segments" - the smaller scenes within a show. The whole show is called the "Program."

All the segment editors do a rough edit of their segment in its own project, then the projects are imported into the Program project. So if you're combining 10 segments into a program, you would have a "Program" project with no media. The projects are imported ( which, as you said, imports all the media) and the program sequence is then built out of the imported segments.

So, in short, we don't import any media until the edited sequences are imported, and that brings the media in at that time.

Make sense?

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Ryan
05/16/2013 2:25pm

Awesome Casey, thanks for following up. One other quick question, in your "Segments" projects, do you search and import from Bridge/Prelude, with use of your "Day One" workflow. Or do you create really large imports from multiple reels and edit/select roughcut from directlywithin Pr?

Ryan
05/16/2013 2:25pm

Awesome Casey, thanks for following up. One other quick question, in your "Segments" projects, do you search and import from Bridge/Prelude, with use of your "Day One" workflow. Or do you create really large imports from multiple reels and edit/select roughcut from directly within Pr?

Casey Faris
05/16/2013 3:30pm

We usually don't use Bridge or Prelude. We will drop our media into Pluraleyes, which generates an XML with the synced media. We then import that into premiere. From there the sequence is kept in it's raw synced state, and we copy parts out of that timeline to make edits in a separate sequence. That way all the raw media is kept safe and synced in the "Raw" sequence. We build our edit in the other sequence, and if we need to go back and find something, we can just go back to the "Raw" sequence. We also use Markers in premiere to make notes on parts we like etc. Premiere has an awesome marker system.

Ryan
05/16/2013 4:42pm

Thanks for the information, very similar to my workflow. I export out of plural eyes as replaced audio, so I have master synced clips, and can use "replace edit" and "match frame" to a master file. I use the dual timeline feature a lot for scrubbing through a lot of footage. But I usually work with multiple interviews, so I create subclips of interview segments so they are searchable, which markers are not. But using the marker panel in Premiere is fast when you know what you've logged.

08/16/2013 2:36am

Good Blog about adobe editing and Dynamic link !Sometimes you have to make a little adjustment to a shot in After Effects.

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