I have posted how this is needed in Premiere immediately, but i ran across this article by Scott Simmons at the Pro Video Coalition. I hadn’t realized that Final Cut Pro X had added it, and didn’t realize you can read the metadata in Premiere, just not easily, and it should be appended to the tracks in the timeline just like it is DaVinci Resolve.
This is a feature that Adobe needs to add immediately.
I have already made a couple of posts about Productions, but had to write again with a quick update.
I am currently cutting a 28 minute and 30 second full length infomercial. And it is a legacy project from 2017, with many versions, and tons of footage. When I first got the project it took over 10 minutes to open and was almost unresponsive when trying to use it.
I decided to see how Productions would handle it.
Productions offers you tools for organizing multi-project workflows, sharing assets between projects, and keeping everything streamlined and efficient, whether you’re working on your own or collaborating with a team.
From the Adobe Help Manual for Premiere Pro.
Now I am working from home and not sharing projects, but basically am using productions like AVID uses Bins. So breaking up the project into the categories it was already broken up into, that means Sequences, Footage, Graphics, Audio, Stills, ETC. So each what would have been a folder in a premiere project is it’s own project.
And premiere can access the media from these projects as if they were open within sequences.
It is amazing how much this speeds up a large project. Everything moves like it should. And like AVID you have the safety of each bin being it’s own project in case something gets corrupted, so you are really safe especially if you backup every day as you must.
Honestly with this and Speech to TEXT AVID should be shaking.
Now if only Adobe fixes Merge clips, this will be the ultimate editing program.
Eric Philpott at the Adobe Blog has a report on the latest Pfeiffer Benchmark Reports of Adobe Premiere Pro on Apple Silicon M1, and the results are pretty unbelievable.
From first launch to final exports, everything is faster — on average 77 percent faster than comparable Intel-based systems — and editing is buttery smooth.
Launch 50 percent faster, Open projects 77 percent faster, Save projects 168 percent faster, Gradient wipe effect 90 percent faster, Lens Flare effect 66 percent faster.
Wow, those are seriously impressive results, and would speed up the edit every day. I can’t wait to see what the M2 or even M3 will do, especially if they really goose the graphics cores and allow for more RAM. I am getting more and more excited for an M1 MacPro, even with limited expansion. I mean I have been pretty damn happy with my iMac Pro.
Jarle Leirpoll, the author of the book Cool Stuff in Premiere Pro and who runs the awesome site Premiere Pro.net, has written an absolute must read article at Frame.io on Premiere Pro’s Render and Bit Depth settings.
Honestly after all these years of using Premiere Pro I didn’t know exactly how all these settings work and when they are affecting things, and Jarle really goes into depth and he ran extensive tests on everything to prove it.
This really should be essential reading for any Premiere Pro user, and his open letter to Adobe is so true, and I just hope they listen. The whole thing should be simplified, which would quickly solve so many users issues with banding on exports.
After my last post on Productions I also had to post this great guide from editor, writer and workflow expert Sofi Marshall, who I posted about her work from home streaming setup previously, THE ULTIMATE GUIDE TO PRODUCTIONS: PREMIERE PRO’S MOST UNDERRATED NEW FEATURE.
This is a great read from someone who obviously has used this extensively and will really get you up and going with a feature that you should be using if you have a project of any size.
So I was just given a huge direct response, and the 300 MB project barely functioned, just beachballing when I tried to do anything. In fact I couldn’t even get it to copy and paste the contents into a new project, it just would beachball and nothing would happen. It was basically a disaster of a project and with a 28 minute and 30 second infomercial I really needed it to be sprightly since I am new jumping into it.
I considered just getting the sequence I was working on out, and did that, but it was a mess, and I would need to search through footage to cover different things, so I really the whole project.
So I tried Productions. You can read it about it here in the Adobe Premiere Pro Manual.
Basically I started a new Production and imported my existing project, which took a while to work, as the project was so messed up. I then broke the project up into smaller little projects as bins, and now a project that was taking 10+ minutes to open, opens in 15 seconds and works better than I could have ever expected!
This basically turns Premiere Pro into AVID, where each Bin is it’s own little project file. So if you are well organized you can break up a project and make little manageable pieces that you only need to open when you need to, to save memory. And you can use folders and break things up even more granularly, so multiple footage bins if you need it.
This is also for multi-user workflows as you can have some bins that open read only and others that you have read write, so you can find footage and not even own a bin, but it works just as well for a single user on a big project.
Honestly should be very scared of Productions, because it fixes one of the longstanding complaints about Premiere Pro where it is a single project that can get messed up. Instead it is a folder of projects all working together. WOW!
Honestly if you are doing a large project in Premiere I would consider using Productions because it speeds everything up and really just works.
This is easily the biggest improvement I have seen in years in Premiere Pro, and really pushes it to new professional heights.
Awesome.
A great article and something to consider because of the lack of pro M1 computers with more than 16 GB of combined ram, and the possibility than sone plug ins or software might not yet work in an M1.
Trailer editor Chris Salters has posted 2 remote collaboration workflows, one free and one including a second computer. Great to see an almost free solution and a much more robust solution as well as solutions better than Zoom though much more expensive (starting at $399 a month).
I like that he sets up a solution that will work with other programs as well.
The budget solution creates a new video monitor which means you are eating more of your precious video memory, which worries me a little, but for screening should be ok.
And the other solution requires another computer and some hardware, so might be more for where companies can provide hardware.
Adobe Premiere Pro desperately needs to add support for iXML audio date for secondary audio in Premiere Pro. Currently when you add your external audio in Premiere Pro you get zero of the Metadata that the Audio Recordist has added, you just get the audio.
This is the same Audio in DaVinci Resolve, in which the engineer has added Mix and TrkA and TrkB to the metadata! Why can’t we see this in Premiere?
Being able to see which track is what would make my whole life so much easier. Especially with lav and boom and mix. If the data is there, Premiere Pro should be able to read it for sure, and export it for the mixer to see as well.
Now this is in various places on Adobe Voice, but I have voted for them all but this hasn’t gotten enough votes for sure. 11 votes here. 5 Votes here. And 20 votes here.
Now as full fledged editor I still much prefer Adobe Premiere Pro over DaVinci Resolve. DaVinci Edit is functional, but just doesn’t feel as fully functional, and I like that I can setup the windows on Premiere Pro however the hell I want to, while I am much more forced into how they want me to do it on DaVinci, and that is my big complaint with Final Cut Pro X, engineers forcing you to do things there way. Also I am not a big fan of the new Cut Page. It feels very Final Cut Pro X to me. Yes I like how you can quickly scan through a folder as if it is a single sequence, but the actual editing is just not how I edit, and I would much rather have an edit control surface for the Edit page than for the Cut Page.
That being said there is certainly one feature in DaVinci’s Edit page that is far superior to Premiere Pro’s the Monitor window and the ability to overlay your Audio on the video either in zoomed in or the full audio. To activate this click on the 3 dots on the upper right of the viewer window and you can seelct either show zoomed Audio Waveform or Show Full Clip Audio Waveform.
Premiere is either or, and you can do that in Resolve, but I just find this so much faster.
But both together is such a time saver! Please Adobe I hope they adopt this soon.
There are over 500 votes for this at Adobe Voice, but if you agree please add your opinion. This is a timesaving feature that I really love and would love to see added to premiere.
