We pay a subscription for working software

[JMV]

I have installed version 22.6.2, available from 09/11/2022 in my location. Before that, I had lost a lot of time. We pay a subscription for working software which has PRO (fessional) in its name.
If not, let's them change their name to Premiere without PRO.
How long do we have to wait for Color Checker Passport? It will probably appear in Premiere when Avid adds it in 10 years.

Mod note: Branched and moved. Title has been changed.

[Baffy19]

I am surprised how Blackmagic Design engineers are working on updates for their NLE product. Every time there are countless updates and improvements, new opportunities, without which it is difficult to rethink the realities of film productions. I'm amazed. Just thinking out loud.

[Warren Heaton]

@Baffy19 

iMovie made VideoMaker Magazine's 2022 best video editing software list.

[e.motion]

Doesn't it tell you everything about the magazine you need to know? iMovie? That's a bit of a joke. You can drive a Tesla or you can drive a Ford focus… I'll take the Tesla thank you… In other words comparing iMovie to resolve is like… Well you get the picture.

[Warren Heaton]

@e.motion 

If we're going to use transportation as a metaphor for video editing, you're coming at it all wrong.

It doesn't matter what you're driving:  A Tesla (what you think of Resolve) or a Ford (what you think of Premiere Pro) or a Toyota (super reliable Media Composer) or a VW id.Buzz (Final Cut Pro X, but used to be the very popular VW Bus - Final Cut Pro classic).

It's what your transporting that matters (that is, our media).  You can haul a box that's sturdy and going to make it along the journey (ProRes, DNxHD, Cineform) or a box that's flimsy and not going to hold up well at all (H264, H264, MPEG2).  It means the same thing regardless of what you're hauling it in.

Hey, did you see the electric Ford F150 at the Los Angeles Autoshow?  It stole the show.  Ford's alerady hold all of the pre-orders, something like 200,000.  It can even power your house after a natural disaster.

VideoMaker also picked Premiere Pro, but gave Media composer and Final Cut Pro X mentions.

Or maybe the car you're driving would be the workstation you're using... so a Tesla would be an HP Z workstation, a Ford would be a Dell, a convertible Miata is ovbiously an M1 MacBook Air, then some kind of kit car for the build-your-box workstation.  Software would be the lane we're in on the freeway, maybe Interstate 10 for the feature length drive and the North Hollywood 170 for the quick tv spot track across the valley.  Media Composer is the number 1 lane, Premire Pro is the number 2, Final Cut Pro is the number 3 lane, and Resolve (for editing) is the number 4 lane.  For color correction, Resolve is the carpool lane that almost everyone drives in for a little while (unless, or course, they don't have their FastPass for the Express Lanes).

Ultimately, it's all about the boxes you're carrying on the journey.

There we go.  A metaphor that works!

[allen24]

Okay, you got me on this one!  

[codevilla]

Ouch... can be worse than ever?!

[Julanka]

Got a solution, it's called Davinci Resolve... should have switched long time ago.

It's a night and day difference, and I only talking about the timeline playback.

Anyway, everybody should give it a try 😉

[davez]

I actually bought Resolve a year or two ago......and yes it is pretty powerful. You DO have to have a fairly robust machine for it to be fast IMHO. But I love that it doesnt use the STUPID "cloud subscription" model.....though truthfully I expect that to change at some point, sadly. Remember, DR came about as a free add-on to their other color correction proucts.......DR has gotten a foothold in giving Adobe a run for the money , mostly by being CHEAP and having most of the functionality of Adobe....so it stands to reason that in time DR will follow the cloud subscription model.  DR is pretty robust, at least for the work I do.

Still, after editing on Premiere for a couple of decades, it is a hard road to hoe as they say, getting used to the many (many) differences in workflow.  I can accomplish things in Premiere in seconds due to muscle memory whereas I m searching for minutes for "how to do something" in DR. I suppose that would change over time.  Adobe's integration of audio, text and animation controls/apps is excellent and sorely missed at times when I have tried to use DR for a project.

But if Adobe keeps pushing things the way they are pushing I will jump ship and force myself to re-learn EVRRYTHING on DR.

For now, staying with the older version that works........hopefuly Adobe gets their head out of their rectums soon on this.....I am seeing people abandon them like rats on a sinking ship over this innattentiveness to what the customer wants/is saying.

[Wytse5ECC]

Very well said, I'm completely on your side.

[Adam21903416lp1l]

time to move to davinci resolve

[e.motion]

I switched over to Resolve about a year ago and there's no reason to ever look back. Resolve does everything premiere pro does but only better. 
now to be transparent, I'm not having any problems with Premiere… But that doesn't matter. No matter how good Premier is as a cutting machine it can't compare to resolve when it comes to color correction and things like that. 

[rodney_glynn]

I switched to Davinci Resolve about 6 months ago.  Best decision I've made to improve my editing and color grading work flow. It's fast, stable and intuitive,  The nodes are intimidating at first but once you understand how they work you'll be hooked.  I still have and use Premiere but only as a secondary editor for clips because right now, Davinci doesn't have the volume of templates and plug-ins Premiere has.  As soon as template and plug in support for Davinci catches up with Premiere, it's a wrap.

[Jim Curtis]

I started using Resolve Dec. 2019.  It took a few months to adjust to its way of terminology and functioning.  I maintain a CC subscription because I still use Ai, Ae, Ps, and AME frequently.  I get jobs to update projects I did in Pr prior to my switching, and the vast majority of the time, it's a nightmare.  About half my footage is unlinked, even though I haven't changed any file paths.  About 3/4 of the time, my Sequence won't even play, even if I turn the fx button off, disabling effects.  

What is fairly reliable, though, is the ability to do an XML export, and get the f out of Pr to import into Resolve. 

There's a downside to this though, because Pr has ONE big advantage over Resolve:  Nesting.  Resolve doesn't respect Sequence in Sequence cropping as Pr does.   In Pr, f you make a 680 x 1080 Nest, and drop  1920 x 1080 footage into it, and put that Nest into a 1920 x 1080 Sequence, the Nest is cropped appropriately.  You can pan and scan in the Nest, and use the Nest as a Clip, using the Motion effects, and it works wonderfully. 

Conversely, if you try this in Resolve, the Nest (called a Compound Clip or just another Timeline), the Nest ignores the pixel dimensions of the Timeline / Nest, and displays the full raster of the 1920 x1080 footage inside the 680 x 1080 Nest/Compound Clip/Timeline!  It's remarkably stupid implementation on BMD's part.

So, I often have to stay in Pr to update those older projects, painful as it may be.  I'm constantly gobsmacked that, given all the "improvements" in Pr in the last two years, it's still a dog on my $15,000 MacPro.

And, I'm continuously baffled that Pr hasn't implemented a proper Track Matte feature, after all this time.

[allen24]

I'm there with ytou. Though believe it or not my Mac Studio Ultra is actually better at editing then your Mac Pro but then your Mac Pro is better at 3D stuff. 

I also have to maintain my Adobe subscription because I need AE, Photoshop and illustrator. If you get on the BlackMagic forum and go to feature request, they are (unlike Adobe) very good at listening to their users. I met one of the engineers at NAB in Las Vegas and when I asked him for a feature he wrote it down.

I rarely use compound clips but I believe you can open them up in their own timeline, make the size changes you need, jump back into your timeline and the changes do happen? I think.

Yes, there is a big learning curve with Resolve but its so so so much better. I downloaded a large Alexa clip from the internet, Premiere couldn't even reccognize the codec and Resolve played it like butter. 

I do understand about having to use Premiere to upgrade past projects. 

And no matter how good Premiere Pro becomes, they will never have the color correcting abilites of Resolve. Met a guy at a bar who is color correcting the new Indiana Jones movie, he showed me pictures of his suite which was specifically built for him by James Cameron, and he is doing it in Resolve, of course. His monitors are all absolutely state of the art, which is then pumped out onto a movie size screen. Would be nice!

[Sekonic]

I looked for my own solution and switched to Resolve. Now I am sad whenever I am forced to open an old Pr project.

[e.motion]

Did you know that you can open a premiere pro project in Resolve? Learn how to do it and you may be pleasantly surprised. 

[anthonya58217920]

Our company is currently switching EVERY workstation away from any and all Adobe products in an exhaustive battle with years of countless unacceptable bugs and issues. We have lost months of work (not even an exaggeration) over the last few years dealing with unacceptable bugs every three days or so. Premiere as it stands, is simply unstable, borderline unable for projects that require months of work and thus far too unreliable to be trusted anymore. Our biggest money loss factor by far. Wishing you all the best in the future with Davinci!! 

[e.motion]

Why would anybody try to color correct with premier… It's color correction tools are mediocre at best. Every major movie color corrects in Resolve. I switched over to Resolve over a year ago and never looking back. Remember, premiere Pro is still using code from years ago. With all the money they're making it's a joke. Disney is not only color correcting with resolve it is now starting to edit its projects in resolve also. It's one amazing program!

[Warren Heaton]

Hmmm... Resolve gets used, but Baselight feature films is just as likely if not more.

Which division of Disney is editing in Resolve?  Feature films and feature-length animation are Media Composer as well as ABC episodic and on-air promos.   When Final Cut Pro classic ended the departments that used it switched to Premiere Pro instead of Media Composer.  (Imagineering was using Final Cut Express, switched to Pro, then switched to Premiere Pro).  When conversations come up about switching NLEs, it's either Media Composer to Premiere Pro or Premiere Pro to Media Composer.

[e.motion]

I'll keep this simple… I have a friend at Disney that I talk all the time and he tells me they're switching over to resolve for editing also. Including Pixar. Not everything but it's a slow switch over. Am i  going to give you his name and number… I don't think so.
The one and only thing Avid had over resolve was that a group of editors could work on something at the same time. Now that you can do that in Resolve why would you want to edit in avid. Avid sucks. The old troopers in Hollywood use avid because they're old and don't want to change their ways. , literally nobody else. Even the Coen Brothers are going to be moving from Premiere to Resolve. I suppose you could call the Disney's editing department and they would probably talk to you ...they're very nice people.

[Zeth_Abney]

At this point they need to just throw out Premiere entirely and start from scratch. 

[Warren Heaton]

I'd like to see Premiere Pre lean more into Final Cut Pro classic (namely editable In/Out Duration text fields, right-clicking a Clip in the Timeline to create a new independent clip reference, and user customizable buttons for menu actions at the upper right of the Timeline).

The very last thing I would like to see is any semblance of a repeat of starting from scratch - namely Final Cut Pro  classic to Final Cut Pro X.