I'm not going to answer your question; I'm only going to offer a couple of insights.
And none of my clients source on anything other than HD, so I'm unfamiliar with the workflows of Red, 4K, or any other newer formats.
That said --
First to your question of "bins" in Premiere -- it IS possible to organize your footage in the project window. I usually create individual folders -- music, b-roll, interviews, gfx, etc.-- and organize accordingly. If you double click on any folder, it opens up like an Avid bin.
Beyond that, I fully agree with what Mike Parsons said. I guess workflow considerations are a huge dynamic nowadays -- from myriad source formats to even more delivery requirements. But for me, what constantly gets lost in the "which editing system is best" debate is the actual EDITING -- the keystroke-to-keystroke getting-from-point-A-to-point-B-in-your-story question.
When that question enters the discussion, for me it's always Avid because of the ease with which you can move material around, backtrack to original source footage, subclip, and so many other small things that are such a heartache -- or flat out impossible -- on other systems.
Creating a select-takes sequence and cutting from that is SOP for me in Avid. Difficult at best on other systems.
Remapping tracks in the timeline so you can cut from one sequence into another? Impossible. The "single timeline" concept in both FCP and Premiere is maddening.
If you've been editing on Avid and are comfortable with it, I question whether the advantages of another system will outweigh the "goddamn it" you're going to feel every time you reach for something you did on Avid that you can't do easily on your "second" system.
I'm still waiting for dynamic trimming in Premiere. Sure, Premiere interfaces better with After Effects. BUT I CAN'T TRIM A SHOT. ...easily.
Using the physical audio tracks in Premiere is also an issue. Default is a single stereo track, so if you've got interviews with interviewer on one track and subject on the other, you have to jump through hoops to separate them. And if you forget to separate them before you start to edit with them... uh oh.
For me, the bottom line is that Avid was designed by editors for editors. I question whether the folks that designed Premiere ever cut a frame in their lives, considering the many uninstinctive defaults built into the program.
As long as Avid can handle the source footage you're using, I don't see a reason to rely on a different program.
My 2 cents.
More like a buck, from the length of it… :-)
-------------------------------------------------
Sol Fischler
Editor: Image & Sound
914-525-2579
From: "Mike Parsons mikeparsons.tv@gmail.com [Avid-L2]" <Avid-L2@yahoogroups.com>
To: Avid-L2@yahoogroups.com; Michael Brockington <mbrock321@gmail.com>
Sent: Thursday, March 17, 2016 2:56 AM
Subject: Re: [Avid-L2] avid editors' opinion of adobe premiere?
I think cutting at full res with that much media is going to hurt regardless of edit system. You have a 5k monitor?
I personally would rethink my workflow. I generally offline at 720p mainly because I can take the project home onto a laptop on a thunderbolt drive. I've done this for years and they can start to shoot 25k tomorrow and nothing will change in my workflow.
I then conform in resolve from full res and grade. For long form tv I render deliverable sized prores 4444 for films and tvcs I render dpx image sequences And then finish in flame.
But to your question. A year ago I did a tvc with a premiere offline with multiple frame rate source which in the edit got further time warped. The edl from premiere was a list of random numbers - so I'd do some tests unless the premiere edit is the master you might run into issues at the end and eye matching long format is tedious.
Just a general word of advice - in our business it's up to us to tame the footage not to let the footage dictate our methods. If we aren't careful we reinvent the wheel every job for every new camera, seems only 5 minutes ago we were forced to use Monkey Extract and a raft of clever but cludgey workarounds to accommodate a single camera. That approach is the way to insanity. Cut in what you like at a resolution you can throw around so you're not breaking the editorial flow and deal with deliverable requirements at the end - you're a long way from delivering so why suffer all edit when you can just have a tricky day of upres and conform at the end?
Mike
Sent from my iPhone
Sent from my iPhone
On Mar 17, 2016, at 3:58 AM, Michael Brockington mbrock321@gmail.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
I have a project coming up that seems like it might be better suited to
cutting on Premiere. I've been using Avid almost exclusively for a long
time, and am very happy on it, while my knowledge of Premiere is pretty
thin.
I'm sure there are people on the list using both programs, and would be
very curious what you think are the best and worst aspects of Premiere,
from an Avid-centric point of view.
This upcoming project will use a custom raster - probably something like
5276x1920, so about 5xHD frames stacked sideways, which would be about
25% more pixels than a 4K frame. Source footage will be mostly HD and
some 4K/5K, from at least 5 different camera models. Multiple sources
(say 5-10 at any given time) will be composited to fill the frame,
mostly using soft-edged mattes.
Each source will probably need a colour LUT, a geometric translation
and/or rotation, maybe scaling, and a matte to fit it into the raster.
There's a lot of overcranked footage that will need to be slowed down in
the timeline. I doubt I will be able to get the performance I need from
Avid without a lot of rendering, so that's the main thing pushing me
towards Premiere.
Project will be 20-30 minutes long, with somewhere around 150 hours of
source footage. Most footage is effectively MOS, with little or no
dialogue.
I think even on Premiere, it would be smoother working with lower-rez
proxy footage - i.e. transcoding sources to something like ProResLT for
offline editing. One potential issue I see is that support for an
offline/online workflow in Premiere seems pretty kludgy. Does anyone
have a solid workflow for that kind of scenario? Or strong caveats?
I see Premiere uses a single huge project file, rather than invidividual
bins. How big of an issue is that on a project like this with a lot of
source footage?
Appreciate any thoughts, or pointers to useful resources,
--Michael Brockington
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Posted by: Sol Fischler <sol.fischler@yahoo.com>
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