text: Thursday, March 28, 2013 Rockar Urges Physical Therapists to Prepare for April 1 Medicare Cuts Many physical therapists still may not be aware of the payment cuts that go into effect April 1. In a recent blog post, APTA President Paul A. Rockar Jr, PT, DPT, MS, urges physical therapists to review information at APTA.org and share it with colleagues to prepare for these reductions. APTA's 2013 Medicare Changes webpage provides the information that physical therapists need to know about the increase in the multiple procedure payment reduction (MPPR), and independent of the MPPR, the Medicare sequestration cuts. Comments Is there not any chance that this will be delayed? Is APTA working on an eleventh hour stay? This is going to force many therapy clinics to opt out of Medicare or possibly even close their doors. It is happening at the same time Medicare is requiring more and more of our therapists...yet they want to pay less and less. I fear for not only our therapy providers and their livelihoods, but our elderly who will have difficulty finding care. Sad state of affairs. Posted by Cheri Freeman, CMRS on 3/28/2013 7:19 PM After 42 years, I have given up . Sold my practice. Did not want the hassle anymore. The unfortunate thing----I loved what I did each day. Posted by Charles Krpata on 3/29/2013 2:39 PM What are we doing about it? Well the short answer is reducing staff pay to account for the Medicare payment reduction. No one will be able to keep paying staff the same rates if reimbursmsnet is going down. There is no room to absorb the reductions any other way. Posted by Russell on 3/29/2013 3:15 PM I support Cheri's comments, and also worry for the care for our parents (and ourselves!). Additionally, it is too bad that the "fixes" being discussed and implemented are built on the faulty concept that providers want to cheat the patient and insurers, and the only way to improve care is to demand more time (money) be spent by the provider to do paperwork, rather than on provider training, equipment upgrades or the like. There will always be cheating providers, and they need to be aggressively pursued, but the rest of us are being penalized by these onerous requirements that only decrease the quality of care we can afford to provide. In the end, we are business and if we are cannot pay our bills out of our reciepts, then we cannot afford to provide services. Posted by Tim Paine on 3/29/2013 3:25 PM Could not be stated any better than that. Posted by Raymond Mack PT,MA on 3/29/2013 4:10 PM Cheri, I could not agree more. Scary future... Posted by Ryan Kalman -> >ISZEK on 3/29/2013 4:58 PM TIm put it quite correctly. They want to cut back the reimbursement to providers. They do not realize that many of us will opt out of medicare and make healthcare accessibility more inaccessible to our seniors. We are one of the most cost effective ways to health. They would rather pay the hospitals, imaging companies, and pharmaceutical companies. The bean counters are too stupid to realize this is just a band aid. What next? Should we give away services. Obama and his buddies would love it. Posted by Bill O"Grady on 3/29/2013 7:16 PM Bleak future for us BabyBoomers; even more bleak for our children. I have no staff, just me. This eliminated workers comp insurance, payroll matching taxes and benefits: health insurance (exponentially rising in cost also due to the Obamacare) PSP/401K. I paid off the commercial building loan; no mortgage, no rent. After 8 hours of patient care + 4 hours of administrative work I was able to make a viable living. With 80% of my patient load Medicare, the reimbursement cut plus the increased administrative work with PQRS, Functional Reporting, etc. I am left to completing 2013 and then closing the practice before the ICD-10 requires a huge computer upgrade cost. Too bad; 33 years as a PT with a great service to offer will leave many with significantly less medical providers to choose from. Give each Medicare client their own "checkbook" of $3700.00 per year for PT. They will shop where they get the best bang for their buck. They will seek great practictioners, pay a fair fee. $75/session for treatment primarily by aides will not stand up to $110/session for treatment by the skilled/licensed therapist. If there is any money left over in their checking account, it can carry over to the next year and so on. OR, Medicare should have facilities send in their payroll: If they employ 2 PT, 1 assistant and 2 aides, reimburse the treatment accordingly: 15 minutes at the PT rate, 15 minutes at the PT assistant rate and 30 minutes at the PT aide rate....Now that seems fair! Posted by Rebecca Zerbst on 3/29/2013 7:36 PM I agree with the above comments. Why are PT's targeted so aggressively? Could someone explain to me how Chiropractors, who have the same education level as a DPT, are exempt from all the regulations and cuts and can continue to make a decent wage without being held to the impractical requirements of doctors prescriptions and signatures? This profession is quickly becoming less lucrative as the cost/benefit ratio is very top heavy. We have to become very creative in our delivery of care and have a stronger PAC/special interest group to represent us in Washington. Posted by Stephanie Wakeman on 3/29/2013 7:48 PM The reimbursement for chiropractic is adjustment only under Medicare. This would be on average 30 dollars per visit. Having a dual practice for many years has been a balancing act with income vs expense. Reduction in Medicare adds more stress to the bottom line. The outside forces seem to be pushing the individual clinic owners to close and moving rehab back into the hospitals and industrial rehab centers. (What we had in the early 70s) For private owners-hang on, be creative with finding additional sources of revenue and tighten your expenses. You don't want to go back to working in a hospital with a loss of independence and some supervisor telling you it's time for your performance review. Posted by Ernie Hackett PT DC on 3/30/2013 9:08 AM I agree with what most of you have posted. We as PTs are the base of the chopping block-the first to be hit. We provide a great service, do not use aides like some of our rival clinics, play by the rules and get the shaft. And I disagree with Stephanie, I think most PTs have more education than chiropractors. Yes, this is unfair. It seems like the only people not feeling the pinch are our politicians. Let's see them take a pay cut or pay some of their benefits out of their own pocket. Posted by Chris Walters, PT on 3/30/2013 10:28 AM I've been a P.T. for 50+yrs and counting. Worked in every setting possible for rehabilitative services. Had my own private practice until 2006 and am now semi-retired, working part-time and enjoying a stress-free professional life. Saw the "future" years ago, mirroring the remarks of Cheri, Charles, Rebecca, Stephanie et al. Where is the APTA in this, where are our membership monies going, what is the PT-Pac doing for us??? The onerous medicare reimbursement policies are designed to reduce, delay, avoid, and - in all ways - prevent timely and fair payment. I feel for all the DPTs trying to pay their educational loans, support a family and/or earn a decent living commensurate with the efforts and commitments they have made. Posted by Herschel Budlow on 3/30/2013 6:05 PM This is very discouraging for somebody like me who is thnking of opening a practice. I thought I am at a point in my career that I need to be on my own and do things that are of greater benefits to my patients and at the same time fulfiling for me. Does anybody see light at the end of the tunnel? Posted by Muideen Kareem on 3/31/2013 1:12 PM I have been a PT for almost 25 years. You guys are looking at this the wrong way. Medicare's goal is not to service the patient, it is not part of the medical model. They are stuck with an every going and sick population of patients. Their only way to save money is to limit access or limit services, thus limiting payments. Limiting access limits care and increases mortality rates. Dead people do not need medicare or social security. It comes down to money not healthcare. You have to look at medicare like a contract lawyer would. Would can I get away with. Not like a healthcare professional what is the best way to help the patient. Posted by Michael Mowery on 4/1/2013 10:59 AM The theme seems to be consistent with what I have seen from other forums and groups of PT's. The writing has been on the wall for a long time and now it is happening. Is there a light at the end of the tunnel? YES! Therapy companies that innovate what they do and how they provide services can trump the system. "Innovate or die" is now something to live by. Most people do not know the difference between different therapy practices. They do not really know what we do... Posted by Curtis Mason on 4/1/2013 4:09 PM We in Hawaii thought we had finally figured out a way to "Move Forward" when "direct access" was approved in 2012, but not so. Medicare and our local BC/BS insurance company and of course W/C or no fault are not allowing patient treatment without a referral from the gate keeping Physician. The Medicare Advantage plans hardly allowed seniors to have any PT services at all and when they are permitted a few treatments their copay has increased from $15 to $45. I am unable to attract DPT's to my practice because they are expecting to be salaried accordingly. We can hardly get adequate reimbursement to keep paying BS/BA. I have recently read in the monthly AARP newspaper(yes I have been enjoying my PT career for many years now, but opened my private practice only 5 years)that the Physician shortage is so critical that they are expediting (shortening)med school and increasing the number of foreign trained Drs allowed per state. There have also been moves to have more nurse run practices and allow nursing schools to begin clinics for patients to be seen by nursing students. If Medicare and our EXTREMELY PROSPEROUS insurance companies that are controlling the healthcare system will abide such plans, what have PT's done wrong? Have PT's or our organization collectively offended some aspect of the system that now prefers to eliminate us? Are we pursuing the DPT to gain respect/credibility or are we educating ourselves right out of a healthcare market that will no longer be able to afford us? Let's focus on influencing those involved in healthcare reform that we are the BEST VALUE in the healthcare market while providing services that no one else can. We should be humble while letting them know that we have the knowledge and the tools that will help to restore function, mobility and strength without overstating the importance of the letters that follow our names. Posted by Betty Fackler on 4/2/2013 1:29 AM I would like to first comment that I understand the frustration and "fear" that is in the comments above. I have been practicing for 14 years now and remember the same sentiment that occured during the BBA scare in 1996, 97, and 98. As a private practitioner I would only comment that if the playing field were level in regards to hospital based practice and private practice reimbursement and policies, the private practice would win everytime. But remember in medicare they (hosptials) are only now having to work within the therapy caps and exception processes that the private practitioner has had to endure. "Critical Access Hospitals" by my understanding are still exempted, but for the most part other hospitals will also begin to feel our pain. Also remember, Hospitals have much better lawyers and PAC money than we do, and when they begin to feel the pain, the rules will change. Have "HOPE" and remember you get what you Vote for. If you voted for Obama, congratulations your candidate won, now enjoy the benefits of his administration. Posted by Richard Luyster -> >HYa<N on 4/2/2013 10:44 AM I'm in the middle, perhaps unjustly. Betty is right, the "Value" is the important concept. But it is unlikely the "academics" at the APTA understand what that means...its sure not doctors earning 60k with double the regulations and requirements of just a year or two ago. Just a couple of us private practice PT's fought the co-pay issue in our state without the help of the APTA and won...not because we were right, but because we used the same methods the insurance lawyers constantly use against us. you cant tell me if 80,000 members were a union (i'm not advocating at the least) that we could'nt win on an issue occasionally! When we "play their game" by "their rules" we will start making progress, but our collective policy of capitualtion with only "strong verbal" opposition means we are NOT EVEN IN THE GAME! My wish is that our apathy will lead to a quick collapse of the healthcare system so that those who caused, or allowed it, will be the ones required to fix it...not our children who we have let down. When we vote, suppport or oppose any issue, do so for what is best for our kids and not ourselves. That's real progress. Trust me, therapy still has a major roll to play for America's future healthcare system in order for it to eventually work...I would encourage us to start that conversation sooner than later. Posted by Norm Fasse on 4/2/2013 1:46 PM It seems like we are all agreeing on most of the issues. The question is: What are we really doing about it? I am sick and tired of getting the short end of the stick. We must stop "rolling over". How many of you ever had their car worked on and when you picked it up tried to renegotiate the price? Oh, transmission repairs need to be pre-approved; sorry I can't pay you for that part of the service. It is time to stand united and say: Sorry, we are no longer accepting Medicare patients! We are providing an invaluable service to our patients and the medical community knows it. For example: of all the dollars that are being spent on back-related injuries every year, less than 2% goes to Physical Therapy providers. But who spent the most time with these clients? WE DO. Let's stop being DOOR MATS! We can not afford anymore cuts and continue to provide the same level of service. Posted by Andreas Lohmar on 4/4/2013 12:04 PM What is happening with the bill to allow physical therapists to opt out of Medicare? Posted by Cindy Newton on 4/25/2013 1:01 PM Cindy, crazy thing is that PT's are not even allowed to opt out of Medicare..unless they recently changed it. And another stupid thing is that if we wanted to charge cash for a Medicare patient, we are prohibited from doing so...it is illegal to accept cash payments from Medicare patients, even if there are no other clinics in the area to accept them. Maybe we need to implement a "don't ask, don't tell" policy? Any ideas? Posted by David Gladysz on 5/16/2013 1:11 PM Is the APTA doing anything to get Congress to allow PTs to opt out of Medicare? Are we Medicare providers to our graves?? Seems like they are professionally biased against us. Something needs to be done. Posted by Nancy Dewey on 6/27/2013 7:12 PM Glad Im not the only one that sees this issue as a major problem in our industry. Im a PTA who specializes in orthopedics, my employer hasn't been able to afford to give me any kind of raise or bonus for 3 years because of all the recent rei mbursement cutbacks, and yet my health insurance rates just went up since I turned 30.... Doesn't make any freaking sense. Posted by Greg CA on 7/10/2013 4:41 PM


text:
Paul Auster Meditates On Life, Death And Near Misses
My guest, Paul Auster, has written a memoir that reflects on his life by focusing on the history of his body - from his childhood to the present. He describes his pleasures, scars, smoking habit, travels, homes, and near-death experiences. The memoir is called "Winter Journal," a reference to reaching his mid-60s and entering what he describes as the winter of his life.
Auster is the author of many novels, including, "Sunset Park," "The New York Trilogy," and "The Music of Chance." He wrote the screenplays for "Smoke, Blue in the Face," and "Lulu on the Bridge."
Paul Auster, welcome back to FRESH AIR. Let's start with a short reading from "Winter Journal." And this is from the beginning of the book. We - we've - we've, condensed it a little bit.
PAUL AUSTER: (Reading) You think it will never happen to you, that it cannot happen to you, that you are the only person in the world to whom none of these things will ever happen. And then, one by one, they all begin to happen to you, in the same way they happen to everyone else.
(Reading) Speak now before it is too late, and then hope to go on speaking until there is nothing more to be said. Time is running out, after all. Perhaps it is just as well to put aside your stories for now and try to examine what it has felt like to live inside this body from the first day you can remember being alive, until this one. A catalogue of sensory data. What one might call a phenomenology of breathing.
It is an incontestable fact that you are no longer young. One month from today, you will be turning 64, and although that is not excessively old, not what anyone would consider to be an advanced old age, you cannot stop yourself from thinking about all the others who never managed to get as far as you have. This is one example of the various things that could never happen, but which, in fact, have happened.
GROSS: That's Paul Auster reading from the beginning of his new memoir "Winter Journal." Why did you want to write a sensory catalogue, including a mention of all the times you needed to empty your bladder and no toilet was at hand?
AUSTER: Not all the times.
GROSS: Not all the times.
AUSTER: Just one, one, one time. One time.
GROSS: Referring to them. Giving them a shout.
AUSTER: I-I don't know why I wrote the book. I never know why I do anything I do. I guess I did it because I wanted to, and somehow the idea felt very compelling to me and I went with it. And I felt well, if I'm really going to do a good job with this, I have to be honest about everything and I have to open myself up to things that could be potentially embarrassing. And yet, nevertheless, what I'm writing about are things that we've all experienced and it's not difficult to identify with some of these little predicaments we get into every now and again - such as a bursting bladder in a place where you're not able to empty it. It's funny and it's part of everyday human life, so I thought I needed to talk about.
GROSS: A lot of the book really is about your body in a lot of ways, you know, like things that have happened to you, times you've nearly died. You, you write about sexuality without writing explicitly about it but, you know, about sexual feelings; panic attacks, so on. And I think some people just take their bodies for granted and live in them.
GROSS: You know? And other people...
AUSTER: Really?
GROSS: Yeah. I, honestly, I think I've met people like that. And, and other people just have things happen to their bodies, some more frequently than others, and end up having to think about their bodies a lot above and beyond sexual arousal.
AUSTER: You see I - well, you see I really thought of this book as a history of my body. That's - that was the working idea and I launched into it with that in mind. But you see, there, there is also a very long section about my mother - her life and her death. And I justify it by saying well, it was in my mother's body that my own body and life began therefore, it's legitimate to talk about it. I also go through a catalog of all the places I lived in - all the addresses I've had over the course of my life - places I've been in for at least six months or a year - and I figured I could justify that by saying well, these were the places that sheltered my body from the elements. So, still, it's still sticking to the - to the general idea of what I was trying to do.
GROSS: Hey, you don't have to rationalize it for me.
AUSTER: It's OK. No, it's all right. Thanks.
GROSS: But, I guess, have you always been just aware of being housed in a body, sometimes a cranky body?
AUSTER: Yes. I think I, I was not so well when I was a small child. I had some kinds of stomach problems and I don't even know what it was. At the time they called it celiac. But it couldn't have been celiac because that's a very terrible disease and I think it lasts forever and, there's nothing much you can do about it. But I had something. So in the early years of my life up, to the age of about four, I really wasn't so well. Then I got over this and just started running around and got terribly interested in sports and all kinds of intense physical activity.
GROSS: In that period where you were diagnosed with celiac, that's a, you know, a very terrible life threatening reaction to - to gluten, to - to...
AUSTER: Yes.
GROSS: ...to wheat and other grains containing gluten. So you were on a very limited diet. You said you lived on like almost the bananas, solely, for two and a half years.
AUSTER: I lived on bananas. Bananas. Bananas. So many bananas that, as I say in the book, I can't stand the sight or the smell of them and I haven't tasted one in 60 years now.
GROSS: So were you brought up with the message like Paul, you're not normal, you can't eat what other people eat, you're not like the other children, you're not like other people, you must be protected?
AUSTER: Probably. But you see, most of those years are before I have consolidated memories of those years. So, I can't consciously say to myself my mother said this because I don't remember. What I remember is a strange thing. When we would travel into New York - my mother grew up here in the city - and we'd go to see her parents sometimes staying overnight. I had a little suitcase and she would pack my bananas in the suitcase. And that suitcase stayed in the family for years and it still smelled of bananas.
AUSTER: And every time I saw that suitcase I'd, I'd have a, a sinking heart and I'd, I'd remember, you know, the terrible business with the bananas. So, a kind of sensory memory, rather than a conscious memory of those days.
GROSS: Now, in talking about your body, when you got active in sports, you loved what - football, baseball?
AUSTER: Baseball, football, basketball. I played everything. Yeah.
GROSS: Yeah. But you hated fighting, physical fighting.
AUSTER: Yes. Yes. Because it was too emotionally overwhelming. You know, the kinds of angers that are part of fistfights and wrestling and confrontations between boys when you're young are so intense and the emotions run so high that even if you win the fight - and I probably won as many as I lost - you feel wretched afterwards. Or I did.
And even if I had won, I felt as if I wanted to cry afterwards. So by the time I was about 13, I figured out a way not to have to fight anymore. And I never did.
GROSS: What was your way out?
AUSTER: The way out was kneeing people in the balls. I figured this out.
AUSTER: It would end the fight in five seconds. And as I say in the book, what is it, dirty fighter? Perhaps that's true but it only was because I didn't want to fight. And after I did that once or twice when people confronted me and they're writhing on the ground and the fight is over, then people stopped taunting me or trying to pick fights with me and I was free.
So dirty tactics or not, it liberated me from the whole business.
GROSS: One of the things we've talked about before on the show, which you write about in the book, is a car accident that you were in. You were at the driver's - you were driving. Your wife was in the front seat, your daughter in the back, along with the dog.
AUSTER: Yes.
GROSS: And you...
AUSTER: Actually, you talked about it once on the radio.
GROSS: We've talked about it. We've talked about it twice, actually.
AUSTER: Yes.
GROSS: Once you brought it up at the very end of the interview.
AUSTER: That's true.
GROSS: And then we had to end. Our time was up.
AUSTER: And then you wanted to talk again and then - so this is the first time I've written about it.
GROSS: This is the first time you've written about it.
AUSTER: Yes, all these years later.
GROSS: And, you know, it's gripping even knowing the story and the outcome. But I just wonder, like, if the story keeps changing in your mind. I know, you know, sometimes what you're remembering is the memory of a memory.
AUSTER: Of course. Of course.
GROSS: And, like, the actuality of the experience keeps, you know, fading away.
AUSTER: Mm-hmm.
GROSS: And you wonder, like, how accurately am I remembering it. Are you aware of the story of that really traumatic incident changing over time?
AUSTER: Not this particular one, and I'm sure there are details that have changed and I'm not even aware of them. But it's only 10 years ago. So it's not the distant past. I know there are things that I've distorted. And even, for example, after I finished the book and it was published, I realized that the name of someone I knew in childhood who's mentioned in the book I got wrong.
I gave the wrong name because I gave the name of the brother of the person rather than the person himself. And so there are all these little slips of memory that we almost can't control, I think.
GROSS: But you still don't drive.
AUSTER: No, I don't want to. I've lost all confidence in myself since then because I had been driving for many years, ever since I was 17, and I was 55 when this accident took place. Meaning that all my life I had been driving without any accidents. No problems whatsoever.
And to make such a stupid mistake - because I do blame myself for it. You know, I made a turn cutting it very close with another car coming from the other direction and that misjudgment is so alarming to me because the people I love most in the world were in that car with me and I easily could've killed them. So as a kind of penance, I don't get behind the wheel anymore.
GROSS: How has that changed your life, to not drive?
AUSTER: Not at all, because I live in New York City and you don't need a car here. So it really doesn't make any difference.
GROSS: If you're just joining us, my guest is Paul Auster and he has a new book, which is called "Winter Journal." Let's take a short break here. Then we'll talk some more. This is FRESH AIR.
GROSS: If you're just joining us, my guest is Paul Auster. His new book is called "Winter Journal." So we're talking about how your new book is in part a book about your body and some of the abuse that it's taken, some of the pleasure that it's had. There's a chapter about your mother and there's a part about your mother's body in the sense that you are the second person to see her body after she died.
Her housecleaner called you and said that your mother was dead...
AUSTER: Yes.
GROSS: ...and you went right over.
AUSTER: Mm-hmm.
GROSS: This is a strange question, but what was the difference between getting the news that she was dead and actually seeing her body?
AUSTER: Well, it was a surprising death in that she hadn't been ill. I was not prepared for it. You know, when a parent has been ill with a disease and one is prepared, then you have a different response to the moment. This came out of the blue. The telephone call came and I went numb, I think.
It's not as though I don't know that unexpected things happen and that people drop dead. I mean, my mother was 77. She wasn't terribly young. But she wasn't as old as many people get to be these days. But numb, I think, is the word. And then when I got to her apartment - it took a while to get there, she lived in New Jersey - seeing her inert body on the bed was almost more than I could bear.
And I've seen other dead people but none of them had been my mother, and there's something so intimate about a parent. And it was hard. So after looking at her for a few moments and studying what she looked like, I turned my head away and then I couldn't look anymore. And I kept not looking until her body was taken out of the apartment by paramedics.
GROSS: Was that in part so that that memory wouldn't be the primary memory, visually, of your mother?
AUSTER: No. There was nothing conscious going on. Maybe unconsciously. Maybe you're right. I just have no idea what I was experiencing then. I was in such shock. And it happened so unexpectedly and there I was looking down at the person, the inert body of a person to whom I'd been talking on the telephone just two days before.
And she'd been in buoyant spirits, cracking jokes. She seemed terribly - in good form altogether. So it was so, so strange to think, well, I'm never going to hear her laugh again and there's no more conversations either.
GROSS: But you were surprised at yourself. You didn't cry.
AUSTER: No. No.
GROSS: And you seem to think in the book, though, you weren't experiencing what you were supposed to be experiencing.
AUSTER: As I say in the book, it seems that - because I do cry in life every once in a while. I tend to cry more over books and films than real events, but every once in a while I've cried about things that have happened to me. But never over the death of anybody.
Something in me shuts down in the face of death and I think that's what led to the panic attack that I got a couple of days later, because I couldn't - everything was bottled up inside me and, you know, there were other factors involved with that attack as well - lack of sleep, too much alcohol, too much coffee.
But still, I think my body wouldn't have broken down. If I had been able to weep, I mean really weep, let it out, I think I would've been much better off.
GROSS: Is this the panic attack where you thought you were dying?
AUSTER: Yes. I absolutely thought I was dying. And I actually felt my limbs turn to stone. It was a feeling I'd never experienced before and never again since, this feeling of death creeping up in my limbs. And I think what was happening is my circulation was shutting down in order to keep my heart going. Something like that.
There's some medical explanation for what happened. But I really felt that it was death creeping up inside me and it was probably the most terrifying moment of my life.
GROSS: So before that you had thought, like, I don't know how many years before this, it was - you thought you were having a heart attack.
AUSTER: Yes. Right. Right.
GROSS: And that you were dying. But there was a sense of calm that came over you.
AUSTER: I know. You see, I've had those two supposed near-death experiences, neither of which turned out to be serious. The first time I was calm and accepting and ready to go. I thought, all right, this is it. My life is over. I think I was 50 when that happened and I was with Siri, my wife.
She was holding me and I said, well, here I am I the arms of my beloved and if this is it, this is it and I'm not frightened. And then five years later I got the panic attack and I was frightened out my wits. So two different responses to what I thought was the same thing.
GROSS: Oh, and also after the first time you thought now that I've seen what a calm experience dying can be, I'm no longer afraid of death.
AUSTER: That's right. Yes.
GROSS: And then you get this panic attack.
AUSTER: Yeah. Yeah.
GROSS: And, like, you're terrified. You're screaming in fear.
AUSTER: Exactly. Well, we're all made of contradictions, aren't we?
GROSS: Well, I am.
AUSTER: Yeah. I keep discovering more and more in myself.
GROSS: Does that disappoint you? I mean, do you wish, like, oh, as you get older you should be getting, like, more consistent and figure out what you really think? And, you know, consistency is something that's really valued in this world and it can be very hard to achieve. Like I think we are very contradictory.
AUSTER: We are contradictory. All human beings are. We have multiple selves. We have different aspects of ourselves that come into play at different moments for different reasons. I think if we didn't contradict ourselves it would be awfully boring. It would be really pretty tedious to be alive.
Changing your mind is probably one of the most beautiful things that people can do, and I've changed my mind about lots of things over the years. And in fact I was talking to a writer friend today on the phone who's even older than I am by about 10 or 12 years. And he's working on a book and I'm working on another book.
And we were talking about how each time we start, we want to just undo everything we've done in the past, take a new approach, shake things up for ourselves, and just take risks. And otherwise it's not worth it. And I think it not only applies to art but to life too. So long live contradictions. That's what I say.
GROSS: Well, I want to thank you so much for talking with us.
AUSTER: Well, it's been a pleasure talking to you again. I'm glad you invited me and thank you very much.
GROSS: Paul Auster's new memoir is called "Winter Journal." You can read an excerpt on our website freshair.npr.org where you can also download Podcasts of our show.
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The GenesisOne T-SQL Source Code Unscrambler launched this month as a proprietary tool intended to put "management's mind at ease" by enabling them to see that the code is written the way it should be, without having to peruse thousands of lines of code.
This source code unscrambler is billed as the industry's first tool to read SQL code and automatically create data-flow documentation without altering the code in any way. The software runs on an algorithm that understands "any code base" and organizes it so both developers and non-developers can understand the logic.
The lack of a well-documented source code in software applications is a major problem in software maintenance, says the company. Stored procedures account for the "vast majority" of database code and are part of almost every application, yet many times the documentation is incomplete or missing.
"To counter this, organizations create global coding standards, code comments, and formatting styles, all of which end up not getting done due to tight project schedules. As a result, most documentation is incomplete or missing and as changes are introduced, the documentation that is there quickly becomes out-of-date," said the company.
The T-SQL Unscrambler is targeted at project managers so they can track coding progress and verify functionality without reading code. It is also suited to development managers who can perform analysis of the code as it is being developed. The firm is also reaching out to operational personnel with this product so they can know what's on their servers and generate formal reference documentation.
GenesisOne founder Anthony Gallo describes his firm's tool as a "disruptive software breakthrough" in understanding complex code and in providing clear and standardized documentation.


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Major NLE Updates Coming at NAB? What Adobe and Avid Should Do to Improve Their Products
NAB is an exciting time of year for us filmmaking folk. While there are certainly some exciting things on the horizon in terms of cameras, rigs, lenses, lights, and what have you, I'm making an educated guess that this will be another significant year for NLE development, especially from post-production giants Avid and Adobe. Avid is likely to make the jump to version 7 of its flagship Media Composer, and if they follow their previously mentioned product cycle plan, Adobe will release version 6.5 of their popular Creative Suite. With much of the editing market still undecided between the three major players in post-production, these new updates could be a crucial stepping stone into the future for these companies.
First and foremost, I should mention that these are the two NLEs which I use regularly. Premiere has taken over as my go-to editing platform, and I use it for most, if not all, of my personal work and for smaller films. Avid, on the other hand, is generally my tool of choice on larger scale productions where media management tends to be a little more unruly, or if it's something I'm collaboratively editing with another person. So as someone who uses both of these on a consistent basis, I have a solid idea of what I would like to see out of the programs in future versions. So without further ado, let the speculation begin.
The folks at Avid have found themselves in a peculiar predicament as of late. They still dominate the high-end broadcast and film markets with their various software solutions -- as evidenced by their near sweep in several post-production categories at this year's Academy Awards. Despite this seeming success, however, Avid has been hurting financially for the past several years as their sales have continued to decline. This financial downward spiral seems to be boiling over for the company, seeing as how they recently postponed the release of their 2012 4th quarter earnings, something widely regarded by both the business and editing communities as a desperate move.
It seems to me that if Avid really is in desperate financial trouble, they're going to need to make a splash at NAB in order to stimulate new sales of their software solutions. For them to accomplish this, they are going to need to implement a major overhaul of the Media Composer interface and make it more accessible to younger editors, while simultaneously maintaining the level of professional precision that has made the application an industry workhorse for the past 20 years -- and they're going to have to do all of this while significantly lowering their price points.
Beyond these exterior changes to the software, Avid is going to have to heavily refine the way the software works internally. While they've subtly been doing this for the past 2 or 3 years with features such as AMA linking, OpenGL support, 3rd-party I/O options, and most importantly, 64-bit base code, Avid is still lagging well behind both Adobe and Apple in terms of performance and taking advantage of modern hardware. They need to follow in Adobe's and Apple's shoes with OpenCL support and background rendering. Beyond that, they need to bring resolution independence to both their project settings and to individual clips so that editors aren't restricted to the standard TV and film options that Avid currently offers.
However, despite the fact that a revamped version of Media Composer would likely get Avid's software division back on the track to profitability (especially if they could do the same with Pro Tools), whether or not the company has the cash or credit to cover the costs of the sure-to-be hefty research and development for such an overhaul is highly questionable. If the new version of Media Composer fails to gain traction in the broadcast and film communities, and Avid continues to lose money, it's likely that we could see some kind of company restructuring or even the sale of the company or its individual parts.
Adobe, unlike Avid, seems to be thriving these days. After having snatched up many an editing professional after the Final Cut Pro X conundrum, and with the potential downfall of Avid, Adobe is now in a position to take the lead in the professional NLE market. In order to do this, however, they're also going to have to keep innovating with their suite of video post-production tools.
First and foremost, and I don't think I'm alone in this, it's time for Adobe to develop and embrace their own proprietary codec, a la ProRes or DNxHD. While the success of codec independence is part of what makes Premiere great, the performance of certain native codecs within the program is not what it could or should be. With a proprietary codec, Adobe would be able to completely optimize the performance of the software for that codec, as opposed to having a piece of software that deals with some codecs well, and others not nearly as much. Considering that many narrative-style films already transcode their raw camera data for both dallies and offline editing, it would be fantastic for Adobe to develop something to aid in that process. Sure, Cineform has been a decent 3rd party solution to this point, but it's time for Adobe to step up their game and cater to both independent folks as well as high-end professionals.
I would also like to see better integration of the Production Premium suite with its newest member, Adobe SpeedGrade. The acquisition of SpeedGrade from Iridas last year was an excellent move for Adobe in terms of putting together a comprehensive suite of tools for the video professional. However, the implementation and insertion of SpeedGrade into the suite has been clunky, to say the least. If Adobe can manage to integrate the program with the same dynamic linking technologies that have made it a breeze to shoot back and forth between Premiere, After Effects, Audition, and Encore, then they'll finally have a complete, integrated set of high-end tools for the video professional. As it stands now, it's just as easy to take a sequence from Premiere into Resolve as it is to take it into SpeedGrade. This needs to change if they want SpeedGrade to become a more viable option for the folks already using their products.
What do you guys think? What would you like to see out of the new versions of Media Composer and Premiere Pro? What would Avid have to do with Media Composer to keep it relevant and profitable? Conversely, what do you think Adobe would have to do to catapult Premiere Pro into industry dominance? Let us know in the comments.
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151 Comments
Speedgrade is wonderfully intuitive but about as stable as a drunk on roller skates.
I ditched it for Resolve lite, which is less intuitive but more powerful in my opinion.
Even with a high end PC, the transfer between Prem. pro and Speedgrade was abysmal.
While I stand by Adobe for Prem. Pro and After Effects, they're going to have to pull a miracle out of the bag to get me interested in Speedgrade again.
March 14, 2013 at 1:09PM, Edited September 4, 8:21AM
Agree on the Speedgrade thing. It needs brought up to speed with the rest of the suite immediately. I've tried using it and like Ben said, it's just terrible to get anything from Premiere into Speedgrade, Speedgrade crashes constantly, it's just not a stellar program at the moment. There's so much that could be done to improve it and its integration into the suite.
March 14, 2013 at 1:35PM, Edited September 4, 8:21AM
This. SpeedGrade needs Adobeization I am all-in for Adobe these days. More often than ever, I've found myself ingesting and logging in Prelude, editing in Premiere, integrating graphics through AE/Photoshop through dynamic link, mixing in Audition, etc., etc., etc. What's missing is an equally smooth connection to SpeedGrade. I really like SpeedGrade, too... but the round-tripping is clunky right now. I'm sure Adobe will Adobe-ize it, but right now it feels like Apple Color in FCS.
I haven't learned Resolve Lite because, frankly, I want to stick with Adobe. If my hotkeys, GUI cues, etc. can all be the same when I have a quick turn around of projects at work... hey, I'll take that over almost anything. It's not fanboyism or loyalty or anything like that—it's about keeping things seamless, fast and easy to move between.
Even a few years ago, going between FCP or Avid and AE slowed me down, because it was difficult to shift my mind between hotkeys.
March 14, 2013 at 3:00PM, Edited September 4, 8:21AM
The realities of media nowadays it's better to be as software and platform agnostic as possible. Not everything advances at the same place. And then there are the odd missteps that throw everyone for a loop.
That doesn't mean you shouldn't have your own preferences.
March 16, 2013 at 4:29PM, Edited September 4, 8:21AM
Speedgrade is still very new and it will become very intuitive and improve immensely. I couldn't tell you that timeline though
March 15, 2013 at 6:37AM, Edited September 4, 8:21AM
I agree. I am using Resolve for all my color needs right now, and the integration with Premiere (which when you think about it, there is none) is better than the integration with SpeedGrade. I would love to see SG brought into the DynamicLink family. Why can't I open a sequence in SG, grade and correct it, and have it linked back to Premiere so that I can dynamically color correct?
That would also solve another problem I have with color grading: it takes up a lot of space. I usually end up with 2-3 versions of each clip as it moves through the production workflow. With resolutions and file sizes continually increasing, Adobe needs to find a better way to non-destructively color correct. If they could use XMP data for color correction (similar to Lightroom) and have Premiere do the final render it would give us all greater edibility and less storage space occupied.
I'm and Adobe fan, but ultimately I will use whatever tool is best for the job. For color, right now that is DaVinci.
March 15, 2013 at 8:32AM, Edited September 4, 8:21AM
Guys, feel free to make feature requests here: http://www.adobe.com/go/wish
Kevin Monahan
Social Support Lead, DV Products
March 18, 2013 at 7:46PM, Edited September 4, 8:21AM
I would love to see them come out with a controller application of their own (Like controller+). Also one that would work with speed grade rather than spending thousands on a controller board. I completely agree with integrating some sort of dynamic link to speed grade
March 14, 2013 at 1:14PM, Edited September 4, 8:21AM
You can make a feature request for control surface support: http://www.adobe.com/go/wish
Kevin Monahan
Social Support Lead, DV products
March 18, 2013 at 7:48PM, Edited September 4, 8:21AM
March 14, 2013 at 1:18PM, Edited September 4, 8:21AM
Most of my projects have extensive use of VFX and I don't use AE, I end up having to render plates clip per clip from my timeline to use in my 3d and compositing packages, then I have to re import back into my timeline the vfx rendered plates, I'd love Premiere to have it done in a easier way, just like The Foundry Hiero does.
March 14, 2013 at 1:39PM, Edited September 4, 8:21AM
What's software are you using? ThanKs.
March 14, 2013 at 2:48PM, Edited September 4, 8:21AM
Tell us how you want it to work here: http://www.adobe.com/go/wish
Kevin Monahan
Social Support Lead, DV products
March 18, 2013 at 7:51PM, Edited September 4, 8:21AM
Adobe missed the boat BIG TIME not buying out cineform. To let them be snapped up by go pro who lets face it, until now have no real use for the codec, was the biggest f-up this century. But maybe they have something else up their sleeve?
What they REALLY need to fix is the completely broken multicam workflow. Currently there is no way to flatten a multicam timeline or export it as a readable XML meaning you can't use it in speed grade, resolve or even after effects. FCP7 had this, avid has it as well but Premier Pro does not and neither does FCPX.
March 14, 2013 at 1:45PM, Edited September 4, 8:21AM
I'm agree with you the multicam is a bit weird if you want to use IT with after effect. It exports In after effect all the média and not only the part you sélect.
And I want something more efficient between the multi camera monitor and the timeline.
You have to click inside the multi monitor and click play because if you do In the timeline all the camera won't play. IT saves some power but lot of Time wasted to switch between the multi camera monitor and the timeline.
And is there a way to improve the performance In not using proxy media.
March 14, 2013 at 2:43PM, Edited September 4, 8:21AM
If you want a better intermediate codec and improved multi cam workflow, let us know the particulars here: http://www.adobe.com/go/wish
Kevin Monahan
Social Support Lead, DV products
March 18, 2013 at 7:52PM, Edited September 4, 8:21AM
Ugh, please no Avid Media Composer X.
March 14, 2013 at 1:46PM, Edited September 4, 8:21AM
"If Avid does decide to go in that direction, they'll really have to make sure that the new product is still appealing to current Avid editors." This is especially true, since Avid is one of the few platforms with people who have been sincerely using it for decades. There are some VERY old school editors using it, and they would not like any drastic change.
March 14, 2013 at 7:51PM, Edited September 4, 8:21AM
What I want from Adobe:
New pro codec. YES! great idea.
After effects shortcut customization. after effects is still locked into its archaic shortcuts. its not a stand alone product anymore, its very integrated. as such, it needs to be allowed to be customized to the same keys as other software, namely premiere.
premiere media broswer that understands the sub-folder organization that modern cameras do when they record video. as it stands, media broswer chokes up on all the other files / metadata that the camera records to the card.
functioning premiere media manager? literally the premiere one does not work at all. three hours of "copying your files over" and then error. useless.
one-click online / offline, proxy editing. its great that premiere can edit native avc, but 14 layers of avc? nope. Proxy editing should not be abandoned. make a way for us to easily toggle back and forth, online / offline, to maximize performance.
I say ditch speedgrade altogether. Integrate it right into premiere. the idea of "going back and forth" between edit system and color correction is outdated. find an intelligent way to do this in premiere. so you can go back and forth between editing and CC with ease.
March 14, 2013 at 1:52PM, Edited September 4, 8:21AM
Integrated Speedgrade would be fantastic indeed.
March 14, 2013 at 2:00PM, Edited September 4, 8:21AM
I wholeheartedly agree on the Project Manager. That actually needs to become a piece of usable software. For one, Adobe does not copy over any dynamically linked Ae Comps upon archiving. If you don't think about that, you can easily end up with major holes in your archived projects.
And, let's not forget the Titler. If they can only make it remember it's position. Plus - ability to export to .srt or .sub format would be great, so you can actually use it as a subtitling tool.
March 14, 2013 at 3:36PM, Edited September 4, 8:21AM
Being able to do a bit more in Premiere of what currently has to be done in AE would be v helpful, like simple compositing, masking, decent titling. These you can either do properly in AE which entails a lot of faff going back and forth (and this is sold as a virtue - "round tripping", yeah right), or do badly in PPro.
Similarly you can do all sorts of great stuff in AE, but forget about having scopes! And how about being able to play a comp contain one clip in real time? No - can't be done?
So you get two apps that are mostly brilliant with just enough crapness to each to make most jobs just that little bit annoying, so you go into it knowing it should be dead simple but that in reality it's going to be a pain in the arse sooner or later.
It's like having two cars. Both are perfect but one has no air con and the other has no heater. So for any journey over a certain duration you have to tow one behind the other and swap as the weather changes. Not the most elegant analogy, I know.
March 14, 2013 at 3:38PM, Edited September 4, 8:21AM
I too like the analogy and often find myself thinking the same thing... Smoke is taking this route on the higher end and I'd love to see AE and Premiere Pro merge, especially now that everyone buys the bundles or Creative Cloud subscription so there's really not much money to be made by selling them separately...
March 14, 2013 at 4:27PM, Edited September 4, 8:21AM
No. Merging Premiere and After Effects would be bad.
Using the car analogy, Premiere is a sports car, it's about speed and maneuverability. Get to your destination fast. After Effects is a rugged pick up, designed for heavy lifting.
If you merge the two, you get more of a mess. After Effects users can typically have multiple nested comps with dozens of layers each. Throw in effects, expressions and 3d layers, and you can really slow down even a fast machine.
I've seen how badly this can turn out in Final Cut Pro with some users who decided to do everything including effects in it.
I think it would be better for Adobe to create a unified plug in architecture, so that Premiere and After Effects uses essentially the same plug ins. It could be like how Final Cut X uses Motion for effects generation.
Merging the two will just become a more awkward beast that won't benefit anyone.
Smoke was designed with client interaction in mind, and was more hardware integrated like Flame.
March 16, 2013 at 5:16PM, Edited September 4, 8:21AM
Perfect analogy for Premiere & AE. I'd like to see Speedgrade and Premiere merge instead of roundtripping. That will give Premiere a huge advantage over other most other NLE's.
At the very least, instead of merging the two programs, which can be potentially very difficult to do, if Speedgrade can simply open up a pproj and write to it, that will be more than sufficient!
March 14, 2013 at 8:05PM, Edited September 4, 8:21AM
Ditching SpeedGrade and having it integrated into Premiere is fine for those who work alone, but not in a collaborative environment.
Adobe needs to bring core features of SpeedGrade into Premiere, so do as much as possible in Premiere. For those times you need to go into Speedgrade, any color settings already applied will carry over.
It's time Adobe created a unified plugin architecture, so effects in Premiere, SpeedGrade and AE are the same.
March 16, 2013 at 4:37PM, Edited September 4, 8:21AM
"Ditching SpeedGrade and having it integrated into Premiere is fine for those who work alone, but not in a collaborative environment."
Why? If the colorist could open Premiere, choose the Color Correction workspace, and just use the grading tools - then what would be so horribly bad about that?
March 21, 2013 at 4:10PM, Edited September 4, 8:21AM
If you want us to develop an intermediate codec or have better interoperation with existing ones, customizable keyboard shortcuts in After Effects, better native camera support, a better media manager, proxy editing, and better SpeedGrade integration, let us know: http://www.adobe.com/go/wish
Sorry you had trouble with the Project Manager. In the future, please bring your problems to the forum: http://forums.adobe.com/community/premiere/premierepro_current
Kevin Monahan
Social Support Lead, DV products
March 18, 2013 at 7:58PM, Edited September 4, 8:21AM
March 14, 2013 at 1:59PM, Edited September 4, 8:21AM
Yes, we all want that. Vote for it here: http://www.adobe.com/go/wish
Kevin Monahan
Social Support Lead, DV Products
March 18, 2013 at 7:59PM, Edited September 4, 8:21AM
Great article Robert, I find myself agreeing with your thoughts; I believe that Avid is a bit more dependent on what Adobe does, than it can rely on itself. If Avid doesn't do an overhaul and stays true to its current workings, then eventually it might fade, as more Adobe users find their way into the industry. Lets face it, Avid works and plays like a 10 year old software. However, if they do decide to have a makeover, then a lot of people who love Avid will be pissed about the change (Some people have a problem with technological advancement in this industry).
So I believe that if Adobe really pushes themselves forward to show why they can be the most high-end professional tool for editing - Both in aggressive marketing and in tech, then Avid may be in deep trouble.
March 14, 2013 at 2:05PM, Edited September 4, 8:21AM
avid: total agreement. it has improved a lot, but still seems archaic in many respects.
adobe: huh? you ask for ANOTHER codec? i get what you are saying re. NLE + preferred codec working together to increase speed, but it would have to be the mother of all codecs to have me welcome yet another to the fold.
speedgrade v. resolve: yes to the drunken skater, yes resolve kills, yes improve the roundtripping, yes, yes.
March 14, 2013 at 2:22PM, Edited September 4, 8:21AM
Lend your voice to product improvement here: http://www.adobe.com/go/wish We read all feature requests, swear!
Kevin Monahan
Social Support Lead, DV Products
March 18, 2013 at 8:00PM, Edited September 4, 8:21AM
I can't believe you're recommending that Adobe comes up with a proprietary codec! That is exactly what we don't want them to do! I am happy that Adobe's recent formats have most been focused on being open source. If they could come up with an open source codec that beats ProRes 4444, I'd be much more excited about that.
March 14, 2013 at 2:23PM, Edited September 4, 8:21AM
Cinema DNG is open source, but Adobe barely supports that. There were very enthusiastic when they introduced it a few years ago.
They do need a mastering codec, it's not about being proprietary, it's about optimizing their software and hardware advantages.
Adobe will be always patching problems if updates of ProRes and DNxHD break something.
March 16, 2013 at 4:45PM, Edited September 4, 8:21AM
I'd like to see Adobe announce OpenCL for AMD hardware outside of the two MBP models it supports. I have a Windows 7 workstation that I use CS6 on, right now it has an AMD graphics card so no OpenCL in my Mercury Playback Engine, If Adobe and AMD don't come up with something my new graphics card will be Nvidia.
March 14, 2013 at 2:23PM, Edited September 4, 8:21AM
OpenCL performance (on Mac or PC) will not likely come close to the performance of CUDA architecture.
March 14, 2013 at 3:11PM, Edited September 4, 8:21AM
Make your request for more supported GPUs: http://www.adobe.com/go/wish
I'd be down with more supported GPUs!
Kevin Monahan
Social Support Lead, DV Products
March 18, 2013 at 8:04PM, Edited September 4, 8:21AM
I use adobe and It's good but the performance are not enough... I've got a gtx 680 and It's almost never use... You still have to do lot of render... Render In background with the graphic card would be great like fcpx? But something which doesn't slow down the Pc.
I would like to see all the effect with gpu accélération. Some effect like stabilization don't use all the core and take a while...
So I want more speeeeeedddd.
I still use color correction inside Pp because I don't like the workflow with speedgrade so yes a big improvment on this part would je great.
March 14, 2013 at 2:29PM, Edited September 4, 8:21AM
March 14, 2013 at 6:15PM, Edited September 4, 8:21AM
Make all your requests known to us here: http://www.adobe.com/go/wish
Kevin Monahan
Social Support Lead, DV Products
March 18, 2013 at 8:05PM, Edited September 4, 8:21AM
I know it's not a priority for everyone, but some hotkey advances with Adobe Prelude would be killer for me. I love how they built it to be keyboard driven for the sake of speed, but when transcribing, I need a handful of new hotkeys to make it even faster.
March 14, 2013 at 3:01PM, Edited September 4, 8:21AM
Great idea, David. We will read your feature requests here: http://www.adobe.com/go/wish
Kevin Monahan
Social Support Lead, DV Products
March 18, 2013 at 8:06PM, Edited September 4, 8:21AM
Oh, and Adobe needs to not kill off support for the BMD camera codec. That camera might seriously take off in the next few years, and PP would be left behind due to just not supporting a codec. That would be a huge bummer for them.
March 14, 2013 at 3:02PM, Edited September 4, 8:21AM
It's supported over many of our products, and you can use it right now in SpeedGrade, After Effects, and more if RAW plug-ins are installed. It is not a great codec to edit with in Premiere Pro, however. You would need some very beefy hardware to deal with files like that in editorial, however, feel free to make your request: http://www.adobe.com/go/wish
Kevin Monahan
Social Support Lead, DV Products
March 18, 2013 at 8:09PM, Edited September 4, 8:21AM
There's a growing but silent base of pros, self included, who have really gotten to like what FCP X has to offer. I'd be happy to switch to Premiere (mostly for the realtime AE functionality) if it had something resembling the dynamic timeline or the intuitive event/asset management workflow of X.
March 14, 2013 at 3:23PM, Edited September 4, 8:21AM
Agreed. X has come a long way since that messy 10.0.0 release. And if its successful evolution pushes Adobe and Avid to finally innovate with their admittedly ancient NLE platforms, then it's beneficial all-around.
March 14, 2013 at 6:19PM, Edited September 4, 8:21AM
We listen to all reasonable requests. Make yours here: http://www.adobe.com/go/wish
Nothing is outlandish, IMHO.
Kevin Monahan
Social Support Lead, DV Products
March 18, 2013 at 8:10PM, Edited September 4, 8:21AM
I want Creative Cloud to offer render farm solutions for Ae. Upload your project file + footage to the cloud and download a rendered version a few hours later, w/o need to hog resources on your local system. But that would require CC space to grow beyond the 20GB they currently offer. More like 1Tb-ish for video Pros.
Since so many in the industry currently depend on Quicktime and ProRes, since I'm on PC, I want to be able to write to that format (not just read it). Or, indeed, a new codec altogether. The arrival of 4K might just be their way in. On the other hand, I want PPro to continue to handle all codecs, because that's one of it's key advantages. Not having to transcode is a huge time and disc space saver.
Furthermore, I want PPro and its effects to be agnostic to dimensions of either footage or sequences. Right now, Warp Stabilizer requires the footage to match the sequence, which is cumbersome if you're creating a film aspect ratio (2.35 to 1) sequence with 1080p footage. Currently, once created, you can't change the dimensions of a given sequence.
Better SpeedGrade integration - agreed. Have not had a serious look at the programme.
Also, I want better round tripping between Audition and PPro. Create a mix in Audition and be able to toggle back and forth, just like the brilliance between Ae and PPro.
March 14, 2013 at 3:29PM, Edited September 4, 8:21AM
You can kind of do that by recording a favorite for the settings that you want. You still have to send each clip from PP to Audition, but once there you can batch process all the clips with your favorite, then save all. Head back to Premiere and voila! your audio is golden.
March 15, 2013 at 8:43AM, Edited September 4, 8:21AM
Sure you can roundtrip between PPro and Au, but it's not dynamic. Every time you click the Open in Audition feature, a new clip is created. I want to have just a single link open which can be instantly updated just like between PPro and Ae.
March 15, 2013 at 9:30AM, Edited September 4, 8:21AM
That'd be quite awesome, but frankly I don't think we're there yet in terms of broadband capacity (at least in the US). One can hope and pray for Google fiber lines, though...
March 14, 2013 at 6:20PM, Edited September 4, 8:21AM
Adobe has never been great with distributed rendering. The other problem is that using a render farm only works well with image sequences.
One of the advantages of Apple creating ProRes has been the ability to use distributed rendering.
Adobe will definitely need their own mastering codec to be able to do that. I don't know how much of a priority Adobe will give it.
March 16, 2013 at 4:54PM, Edited September 4, 8:21AM
I like your render farm over the Creative Cloud idea. Submit it here: http;//www.adobe.com/go/wish
Kevin Monahan
Social Support Lead, DV Products
March 18, 2013 at 8:14PM, Edited September 4, 8:21AM
I would like to see Prelude use CUDA for better previewing of AVCHD and also transcode direct into a premiere pro project that acts like Log and Transfer. SpeedGrade needs external monitoring to be taken seriously as a grading tool. Prelude is a great application that I don't think people use very often or understand fully what it can do.
March 14, 2013 at 3:39PM, Edited September 4, 8:21AM
YES. It's absurd (in my opinion) that our Black Magic monitoring devices are supported by AE, Premiere Pro, etc.... but not on SpeedGrade. They need to fix that asap.
March 14, 2013 at 7:57PM, Edited September 4, 8:21AM
Keep in mind that SpeedGrade came in pretty late to the game. We know that users want better monitoring support, but be sure to add your voice: http://www.adobe.com/go/wish
Kevin Monahan
Social Support Lead, DV Products
March 18, 2013 at 8:16PM, Edited September 4, 8:21AM
I haven't been able to work with Prelude. I much preferred OnLocation. I found it very easy to log and organize footage, but I haven't been able to grasp Prelude yet. Any tips for finding an easy workflow?
March 15, 2013 at 8:45AM, Edited September 4, 8:21AM
Joel, here's some videos to help you get started: http://tv.adobe.com/product/prelude/
Kevin Monahan
Social Support Lead, DV Products
March 18, 2013 at 8:19PM, Edited September 4, 8:21AM
Hi Erik, Sorry you aren't finding everything you need in Prelude. Let us know all your requests here: http://www.adobe.com/go/wish
Kevin Monahan
Social Support Lead, DV Products
March 18, 2013 at 8:17PM, Edited September 4, 8:21AM
I normally use PP and AE, but have been playing with a relatively new piece of software called Hitfilm Ultimate. While still a little on the primitive side, the thought behind it is more like Smoke. It is a NLE that also has the ability to create composite shots and integrate them into the main timeline AND play them back in real time. It looks like its going to take some time for it to mature, but the potential is there.
March 14, 2013 at 5:43PM, Edited September 4, 8:21AM
Uh... " a breeze to shoot back and forth between Premiere, After Effects". Well, you can go easily from P to AE, but getting back? You'll just get one solid file, certainly not the project you had before.
March 14, 2013 at 5:53PM, Edited September 4, 8:21AM
I'm still learning to make the most of PP 6.0. I am loving the adjustment layers. I do my colour grading on one layer. All clips below it are affected and I can easily copy and paste.
If I were really asking for the moon, I would like to have a PluralEyes-type feature in PP.
I would also like the blade tool to have a sort of snapping effect so that I know it has really snapped, the way FCP 7 does.
I'm not sure that it needs its own codec if it's able to handle whatever comes out of all the major cameras.
March 14, 2013 at 6:40PM, Edited September 4, 8:21AM
Yeah the blade tool should snap ala FCP7. Super annoying. You should also be able to sort clips by name. I can't tell you how many times I've imported files and then had to delete them because they were in reverse chronological order or worse not in any sort of order. I hate that you can't have a real time monitor of multicam on a second monitor and does hitting that record button really need to be necessary ?
March 15, 2013 at 1:53AM, Edited September 4, 8:21AM
Glad you love the Adjustment Layers, me too! If you want a built in "Plural Eyes" style feature and snappier snapping, let us know: http://www.adobe.com/go/wish
Kevin Monahan
Social Support Lead, DV Products
March 18, 2013 at 8:23PM, Edited September 4, 8:21AM
Avid's customer support is horrible, they make Adobe's look wonderful by comparison.
March 14, 2013 at 7:33PM, Edited September 4, 8:21AM
Brilliant idea, an industry standard alternative to ProRes and DNxHD will be great! Cineform, while great, isn't widely adopted. It's maddening not being able to use ProRes on both Mac & PC -it's the year 2013 and we're still having issues like this?? Yes, I know it's possible encode Prores on PC if you try hard enough, but it's not nearly as easy as it should be. It'll be even better if Adobe creates an open industry standard rather than a proprietary one. Similar to what they've done with camera raw formats and the DNG format. They certainly have the influence to encourage wide spread adoption, especially if implemented well.
March 14, 2013 at 7:47PM, Edited September 4, 8:21AM
To add a bit, our studio is Mac based and we archive our projects as a ProRes 4444 master. However, it will be nice to be able to have a similar format that isn't platform specific, has long term longevity, has industry wide adoption, and doesn't require a license to use!
March 14, 2013 at 7:55PM, Edited September 4, 8:21AM
All great ideas, please add your voice: http://www.adobe.com/go/wish
Kevin Monahan
Social Support Lead, DV Products
March 18, 2013 at 8:25PM, Edited September 4, 8:21AM
The single, most important feature editors REALLY need for Premiere, is the ability to remap the same shortcut across various keys or combinations. It's EXTREMELY irritating. They have to start thinking about ergonomics!! I usually edit and move around an editing program with a single hand on the keyboard, without ever having to reach for the mouse. Avid can do it, so can FCP (don't know about X). What's the point of being able to remap keys, if they're not flexible about it. Just plain stupid and inefficient. Also, they need to add a keyboard design when mapping the keys (in conjuction with the clunky text interface). I mean, it's all good once you've designed your new remapped keyboard, but doing so is BY NO MEANS as fast as it is with Avid or FCP.
March 14, 2013 at 8:36PM, Edited September 4, 8:21AM
Robert, I improved the Help document that tells you how to transport your .kys file to another computer. Check it out here: http://adobe.ly/WAfgCZ
Kevin Monahan
Social Support Lead, DV Products
March 18, 2013 at 8:39PM, Edited September 4, 8:21AM
I seem to remember there is a "Use Final Cut Pro" scheme feature in Edit>Preferences> Keyboard Shortcut>... strange.
March 15, 2013 at 2:59AM, Edited September 4, 8:21AM
Brendon, yes, we definitely hear the request for a customizable, mappable, keyboard with drag and drop control. Feel free to add your voice for this request here: http://www.adobe.com/go/wish
Mapping the same command over different keys? I'm trying to think of an example where I have done that in the past, but nothing comes to mind. However, you can make a request for that too.
Kevin Monahan
Social Support Lead, DV Products
March 18, 2013 at 8:33PM, Edited September 4, 8:21AM
Digital noise reduction without having to use a third party plugin would be great, I think it is something very essential and always wander why it is not part of the standard package (and not requested more frequently...)
March 14, 2013 at 10:26PM, Edited September 4, 8:21AM
Make a request here: http://www.adobe.com/go/wish
Kevin Monahan
Social Support Lead, DV Products
March 18, 2013 at 8:42PM, Edited September 4, 8:21AM
And one more thing adobe. Why do I have to add my video card to a text file to get pp to support open cl. It's annoying that the software can support a whole mess of cards and all it takes is adding 10 stinking characters to a text file to unlock a better rendering experience. C'mon Adobe.
March 15, 2013 at 1:59AM, Edited September 4, 8:21AM
While we'd like to, it is difficult to support every video card under the sun. That said, you can suggest more GPUs for us to test out: http://www.adobe.com/go/wish
Keep in mind minimum requirements for any GPU running the Mercury Playback Engine.
Kevin Monahan
Social Support Lead, DV Products
March 18, 2013 at 8:41PM, Edited September 4, 8:21AM
Avid is crap. Too expensive and not intuitive at all.
March 15, 2013 at 2:10AM, Edited September 4, 8:21AM
It is too expensive but learn how to use it properly and it's the most pleasant free flowing editing experience there is. To just say it's crap is niave.
March 15, 2013 at 3:34AM, Edited September 4, 8:21AM
I think that's the problem. Avid does some things very well like the Composer Window, but I find my self having to go through additional steps to getting done when other NLEs don't require this.
I'll put in the time because the market where I work uses it, but I see many students choosing PP over Avid. Like I said before, if Avid wants wider adoption independent users like me, they really need to step up their customer support. When something goes wrong with the software, it's really a pain to get the help you need.
March 15, 2013 at 8:20AM, Edited September 4, 8:21AM
I don't agree with the assertion that Adobe needs a proprietary codec... part of the reason the Premiere Pro CS6 and After Effects utilize hardware playback so well is that they use the native video element from the two Operating Systems. (MS-DV playback on Windows) and (Quicktime MOV on Mac)... I have my own custom intermediary editing settings that use the native support for P2 playback for HD footage... which makes DSLR footage fast when you have the recommended nvidia hardware. Building an Editing system around a proprietary codecs would make P.Pro less versatile... besides why waste money on a proprietary codec when they could us On2 VP8 from Google for Free?
March 15, 2013 at 2:56AM, Edited September 4, 8:21AM
What about some proper support for raw DNG files? We're already seeing the beginning of a new era of raw availability with the BMCC, D16 and the Kinefinity offerings yet the process of getting DNGs into Premiere (despite being their own codec) or just about any NLE is far more time-consuming and processor-intensive than it should be. Surely this can't be a difficult fix?
March 15, 2013 at 4:47AM, Edited September 4, 8:21AM
Adobe created Cinema DNG, but seemed to have lost interest lately. They made it open source, but haven't has as much enthusiasm like when they first introduced it.
March 16, 2013 at 5:00PM, Edited September 4, 8:21AM
Guys, here's the state of Cinema DNG. http://blogs.adobe.com/aftereffects/2012/09/cinemadng-in-after-effects-c...
Cinema DNG is not a codec you'd want to edit with in Premiere Pro, IMHO, however, make a request if you like: http://www.adobe.com/go/wish
Kevin Monahan
Social Support Lead, DV Products
March 18, 2013 at 8:45PM, Edited September 4, 8:21AM
1. Proxy editing a la After Effects - In AE we can go in and select low-res files (even stills) for each clip. But there's no way to do anything like that in Premiere. Well, ok, you can trick Adobe with multiple folders and renaming folder-names. But it's not exactly intuitive.
2. A real noise-reduction tool without any need for third party solutions. One of the biggest reasons for me to not get into speedgrade is that I usually need to denoise footage. I do this with Neat in AE, and while there I see very little reason to not slap on Colorista II while I'm at it. And speedgrade just feels superflous. I would absolutely LOVE it if prelude could use Neat or the like so I can actually use it to batch-process the files like I want to.
3. EDL-viewer in AE. Just to watch the comp in it's context without having to switch and dynamic link.
4. File effects - With this I mean effects that I can apply on files without having them tied to a single sequence.
March 15, 2013 at 8:52AM, Edited September 4, 8:21AM
1. Proxy - I think this will only increase in need as RAW files become more common for editors. I certainly second this idea.
2. This is an interesting idea I haven't considered. I suppose with all the DSLR/large sensor cameras out there, and people's increased desire to shoot in low-light, this is something that would be good. I like this idea. It would be great if Adobe just bought out an already-functioning option (like Neat) instead of building there own, kind of like they did with Automatic Duck for CS6. I would also love if Prelude did something like this as a batch process... and while we're dreaming, it would be cool if they also snatched up FilmConvert and gave you the option to apply that in Prelude.
March 15, 2013 at 9:19AM, Edited September 4, 8:21AM
You can make a feature request for these items: http://www.adobe.com/go/wish
Kevin Monahan
Social Support Lead, DV Products
March 18, 2013 at 8:46PM, Edited September 4, 8:21AM
I'd like to see the addition of handles to dynamic linked videos being sent to AE. Having to pull the shot out of the timeline to add handles to facilitate a cross fade is very irritating.
Also, and this just might be me, but have the cursor not try to be so freaking helpful all the time. Leads to having to zoom in multiple times just to select an effect is very time consuming. They're trying to get it to do too much simultaneously and it often leads to it doing none of it well.
March 15, 2013 at 8:53AM, Edited September 4, 8:21AM
Regarding workflow with Dynamic Link: Fair enough. You do need to add handles but only if you are creating a transition in and/or out of the dynamic link comp. The same is true for nested sequences. I'm sorry you're annoyed by the tools, at the proper zoom level, they behave better. Please make your feature requests, though: http://www.adobe.com/go/wish
March 18, 2013 at 7:30PM, Edited September 4, 8:21AM
This article hits Avid pretty hard and shouldn't. Avid has stood by its users since the start. I don't think they need to mess around with the interface. A lot of complaints people have with Premiere are not even issues in Avid. And Avid won't go away. With FCP gone, there are more licenses for Avid than before. Why? It'll run on PCS and Macs, a boon for schools and small production houses.
As an 10-year Avid user and former user of Premiere and FCP, I prefer the way Avid is now. I think that Avid is the best at rendering on the fly than the other 2 products, especially Adobe. Adobe is trying to push a realtime, on-the-flying paradigm which is the wrong way to go, burdening the systems.
Codecs in cameras are going to keep changing; it only makes sense to transcode into the editing system's codec; to rely on AMA is a recipe for disaster as well as problems throughout the edit. What happens when RAW truly hits? Expecting a perfect RAW workflow from camera-to-timeline-to-output will take some time until computer catch up. History is repeating itself: the Red Rocket is the current Adrenaline box.
Expecting that type of workflow now with all these codecs is ludicrous. How hard it is really to transcode into the Avid codec and edit? Premiere is a joke because it doesn't do this. But it does plug into After Effects really well.
Until the BMCC and DBolex appear, challenging the workflow of every editing system, we'll never really know what the future holds. The next version of the Mac Pro will be a bigger indication of performance we can expect moving forward.
March 15, 2013 at 9:38AM, Edited September 4, 8:21AM
Thanks for the article and your response. Hopefully Avid makes a splash at NAB and implements your ideas.
March 19, 2013 at 11:42AM, Edited September 4, 8:21AM
Robert, Avid makes most of their revenue from hardware, not software. I doubt much of anything in Media Composer will change that. I've even read some analysts say the MC price drops are not only pointless, but hurting their revenue further. They need to drive Isis sales for example and, apparently, it's not.
As a side note, I believe Adobe may have said they're dropping .5 upgrades. I don't doubt another big upgrade but I think it'll be v7.
I suspect FCPX will have a major update around NAB.
Don't underestimate EditShare who will be previewing Lightworks for Mac. My hunch is that their long term goal is to position Lightworks and EditShare as a competitor to Avid's MC/Isis. I imagine having a free NLE that at one time held some measure of "Hollywood" support, getting it into more hands than MC, is part of their marketing and market share objective.
March 21, 2013 at 2:14PM, Edited September 4, 8:21AM
If some advancements were made to integrate AE and Premeire in a greater way - that would get me excited.
That said, in looking forward as a one-man-band for much of my work - I'm very hooked into Adobe. Even if Avid came out with a glorious update to their interface (upon which I have edited hundreds of TV programs) - I wouldn't make the jump. I'm not a fan of the Avid workflow. Adobe makes more sense to my brain. Yes Avid works well for many, but I always found it a chore rather than a pleasure to use. But, since I was offline editing for a Symphony suite, I had no ther option.
With the introduction of the Creative Cloud, I would be hard pressed to jump ship to another application, when for my 50 bucks or so a month, I can always have Adobe's latest. Creative Cloud is genius - it stops many pirates and gets people hooked into the upgrades, guarantees Adobe a steady income, is less expensive for the production companies etc. -Adobe may not be in the top level editing houses, but they have continued to innovate, improve and are now building a larger user base with steady cash flow coming in - I suspect they'll continue jumping ahead. We do, however need Avid and FCP to stick around as competition spurs innovation.
March 15, 2013 at 10:25AM, Edited September 4, 8:21AM
Lane, I'd be curious to hear how you would like to improve dynamic link between Premiere Pro and After Effects. Leave your feedback here: http://www.adobe.com/go/wish
Kevin Monahan
Social Support Lead, DV products
March 18, 2013 at 7:33PM, Edited September 4, 8:21AM
Is anyone else intensely annoyed by the lack of pitch correction when fastforwarding (with JKL) in Premiere? I spend a lot of time listening to interviews at double-speed in FCP 7, and now that I've just switched to Premiere for a project, the chipmunk voices are really getting to me... Is there a plugin to deal with this? (And I do know about Shift-L to get smaller increments of speed increase, but that still isn't satisfying to me.) I love Premiere in many ways, but this is something I'm not sure I'll ever get used to.
March 15, 2013 at 11:44AM, Edited September 4, 8:21AM
In premiere pro on Mac you have the keyboard shortcut preset like in FCP7 or MC6.5
March 15, 2013 at 1:12PM, Edited September 4, 8:21AM
It doesn't bother me, but it drives my wife crazy when she edits. She definitely wants pitch correction as an option in CS7.
March 16, 2013 at 6:05AM, Edited September 4, 8:21AM
Hi Ben, regarding pitch, it's exactly how Media Composer treats it. However, if you want FCP style pitch as you JKL, you can make a feature request: http://www.adobe.com/go/wish That said, I use the Shift key and tap J or L 4 or 5 times to hear FCP style pitch. You can also slow down the speed by pressing Shift J 3-6 times when going forward or Shift L 3-6 times when moving backwards. Kind of like a variable shuttle.
Kevin Monahan
Social Support Lead, DV products
March 18, 2013 at 7:38PM, Edited September 4, 8:21AM
Asside from Speedgrade, Premiere would kill to do background rendering, and Render farm support. Speedgrade also needs to support more I/O Cards
March 17, 2013 at 12:10PM, Edited September 4, 8:21AM
Please make your feature requests: http://www.adobe.com/go/wish
Kevin Monahan
Social Support Lead, DV products
March 18, 2013 at 7:40PM, Edited September 4, 8:21AM
Adobe has been promising Speedgrade Mac support for output to a calibrated monitors since NAB 2012.
It never happened despite acknowledging that such was recognized as a very important need.
Judging grading on a calibrated monitor is a BASIC requirement of grading. But here we are a year later and no solution despite the promises.
Moved on to Resolve. Too slow a response from Adobe.
Love the rest of the Suite though - CS6 is fabulous. Said goodbye to FCP7 long ago.
March 20, 2013 at 8:36AM, Edited September 4, 8:21AM
i love adobe since i got my first PC, in my opinion if Adobe upgrade their software would be nice if an online editing software (may be like wirecast - w/wo streaming capable) for online editing use(directly to Adobe premiere timeline just like Media 100). this is really helpful for some users....i thinks its better if the company got billion users event they are small fish...compare to the only one whale
March 17, 2013 at 4:52PM, Edited September 4, 8:21AM
Along those lines, check out this video: http://tv.adobe.com/watch/adobe-anywhere/introducing-adobe-anywhere-for-...
March 18, 2013 at 7:41PM, Edited September 4, 8:21AM
Being a small freelancer that has bought into the creative cloud, I can say that adobe will be getting my dollars for a long time to come. What I would really like to see are a few more after effects features come into premiere such as 3d camera tracking or make the dynamic link a little easier to use. I feel that with the dynamic link, you could really have a complete hybrid program that allows you to simply switch workspaces to add effects to a premiere timeline.
The number one thing I feel is lacking is an effective colour correction solution. The three way colour corrector is improved, but the secondaries still suck. I find that I am usually building several layers with masks, or eventually going to AE to do simple colour work. An interface such as colorista would put me in absolute colour heaven with Adobe.
March 17, 2013 at 6:25PM, Edited September 4, 8:21AM
Alex, please make your requests, we read them all: http://www.adobe.com/go/wish
Kevin Monahan
Social Support Lead, DV Products
March 18, 2013 at 7:42PM, Edited September 4, 8:21AM
I can't find the website now, but I remember looking up how much of Avid's profits come from Media Composer/Symphony. It's about a third. Yes these are important products, but it's not their only source of revenue. ProTools is still killing it and every news division I know has an Interplay/ISIS. Avid doesn't have the money/engineers that Adobe and Apple do. Major rewrites take loads of time and money. But because they are now at 64bit you will see a lot of small changes that make a big difference. I would expect them to continue to "steal code" from Protools (ala SmartTool) and continue to give us audio improvements. They know they are the only solution for multiuser and 3D, so they may double down on that. They know Symphony's color corrector needs an update, but with limited resources you might see more integration with Baselight.
March 18, 2013 at 2:19PM, Edited September 4, 8:21AM
One of the reasons and there are many, that Ileft AVID and moved to PP CS6 is the Ken Burns effect in avid took so many clicks. Premiere Pro is super simple to move a picture or even multiple video clips with just a couple of clicks.
I do wish that premiere pro would indicate end of clip in the record monitor for those of us that prefer editing with keyboard short cuts as apposed to dragging and dropping.
Final Cut and Avid both let you know when you are at the end of a clip or at the beginning of a new one.
March 18, 2013 at 10:53PM, Edited September 4, 8:21AM
I gotta say, major props to Adobe for being involved with forums, including the comments here. I've been impressed with how active staff are on CreativeCow, and of course on the Adobe forums... but commenting here and replying to a lot of these gripes/requests definitely won them some points from me.
March 19, 2013 at 11:22AM, Edited September 4, 8:21AM
How great is it that a representative from Adobe is taking the time to address our concerns here? While I don't expect all of our issues to be solved overnight, and I realize they probably have a huge list of things to fix/improve, it's cool to see that at least one of these companies is paying attention.
March 19, 2013 at 8:49PM, Edited September 4, 8:21AM
Agreed, Derik! Thanks for stopping by, Kevin.
March 19, 2013 at 9:38PM, Edited September 4, 8:21AM
Since jumping ship from FCP7 the one thing I miss is the simple ability to arrange the imported clips from my DSLR in chronological order. I know there is a work around the convenienceof the 'Arrange' option would be great.
March 21, 2013 at 2:07PM, Edited September 4, 8:21AM
I'm not an editor, but I run a small production devision for start up company, and according to my editing team, the only thing that stops us from switching to Premeire is that it currently doesn't have the ability to open more than one project at a time. This still a restriction for the platform?
March 21, 2013 at 2:29PM, Edited September 4, 8:21AM
I would definitely NOT like to see Adobe develop a proprietary codec. I remember the difficulty I had trying to work on footage with my Windows system that had been touched by a Mac (stupid Apple Intermediate Codec!). The last thing we need is footage locked in to an application and unusable without it.
March 21, 2013 at 2:44PM, Edited September 4, 8:21AM
I would REALLY love it if Adobe could fix whatever it is in Premiere Pro that produces "End of File" errors in clips once they get to Encore. Premiere Pro is great, I love it and am certainly going to keep working with it but these End of File errors are killing me. For the love of all that is holey could Adobe PLEASE fix them. They occur in Encore for no adequately explained reason due to something that is put into the clips that are exported from Premiere Pro. Encore does not identify which clip, let alone where in the clip, the error occurs so that you can go back to Premier Pro and fix it. I literally spend days just trying to find which clip is producing the error in Encore, days that I could have spent editing, so I can fix the problem and get the end product out to customers. In every forum dealing with Adobe software there are people trying to find solutions to the problem that apparently has been around since CS2. There are two problems going on I suspect, which is what makes it difficult, the fact that Encore is so sensitive that it has this problem with clips out of Premier Pro even though EVERYTHING else can play them, and the fact that something in Premiere Pro is so incompatible with how Encore needs things to be that these errors appear in the files in the first place.
March 21, 2013 at 3:01PM, Edited September 4, 8:21AM
I agree it should work, but why do you export files in the first place? Have you tried File > Adobe Dynamic Link > Send to Encore?
March 21, 2013 at 3:56PM, Edited September 4, 8:21AM
Hopefully this responds correctly, pressing reply just took me to the "Leave a comment" window. To answer your question Jarle, I work with exported files from Premiere Pro rather than dynamically linking because for several reasons:
1) There is two of us working on the editing at once, one of us works on the videos in Premiere Pro, exports them and the other then authors the DVDs with those clips while the first is editing the next DVD worth of clips; we are parallel processing in other words
2) We have also specialised in the software, I am our Encore specialist and my wife is our Premier Pro specialist - so we tend to divide our labour that way rather than both working on separate discs at once
3) One of our computers is a lot more powerful (and therefore faster) than the other, so we aim to do the rendering step on that computer
March 22, 2013 at 4:56PM, Edited September 4, 8:21AM
If Avid can revisit a the The dv Express pro option with Media composer offering a functional entry level 1080 HD editing @ $1200.00 mark. With the option to upgrade features as you need them like a modular Lego made to order. That way people can get in with Avid when they are just starting out and upgrade as they need too or can afford along the way.
March 21, 2013 at 3:31PM, Edited September 4, 8:21AM
I have been editing with PP since the CS4 version and am now using CS6. At this point I would not consider using anything else as I have my workflow nailed down and it functions nearly seamlessly especially between PS, AE and Encore despite the occasional hiccup. Now to Speedgrade, what a great tool for color grading, at least I was amazed, however taking the results of it and getting it back into PP is so painful that I can not really integrate it into my present workflow without adding a lot of additional time and HDD space, which is most unfortunate really. It would be a great boon if the program was able to work within PP like a plug-in without all the hassles. To me it was released too early and not integrated very well like AE, or especially PS. I guess I should be writing this to Adobe, whose tutorials make it seem so easy but it has not been so in my experience. Maybe I should consider something from Red Giant...
March 21, 2013 at 4:42PM, Edited September 4, 8:21AM
Pr needs to up the game when it comes to I/O. I have a Black Magic Studio Pro and have endless preview quality problems. This was reported when CS6 came out and nothing has been done (and adobe admitted that they knew about the issue). I also agree that speedgrade needs to be more user friendly, It takes for ever to work on a big project..
March 21, 2013 at 10:48PM, Edited September 4, 8:21AM
WOW NOBODY MENTION HOW YOU CAN'T EDIT CinemaDNG FILES On adobe or avid .. That a must
March 22, 2013 at 4:05AM, Edited September 4, 8:21AM
I second that. That needs to change pronto! There's no good excuse for Premiere not to support DNG sequences. I would also like to be able to move in and out of camera RAW with image sequences on the timeline. Just like you can do with Red footage. In my opinion there's no better CC software and I'd like to be able to use it in a flexible manner. Also in AE.
March 29, 2013 at 2:38PM, Edited September 4, 8:21AM
Interesting article. As someone who has recently moved to AVID, it seems to be in a bit of a mess. There seems to be various ways to do simple tasks which obviously was implemented one way and overhauled but the old infrastructure not removed. This makes things very confusing for someone new coming into use a bit of software where there is no obvious right way to manage assets and export video. PP however really seem to have nailed it as late.
March 22, 2013 at 8:55AM, Edited September 4, 8:21AM


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Low-Dielectric Constant Materials II:
H. Treichel, A. C. Jones, A. Lagendijk, K. Uram
Materials Research Society, Aug 19, 1997 - Technology & Engineering - 203 pages
Low-dielectric constant materials are needed to improve the performance and speed of future integrated circuits. In fact, the diversity of contributors to this book is testimony to the global significance of the topic to the future of semiconductor manufacturing. Presentations include those by semiconductor equipment manufacturers and chemical source suppliers, academia from six countries, four government laboratories and five major device manufacturers. Approaches to designing and implementing reduction in dielectric constant for intermetal dielectric materials are featured and range from the evolution of silicon dioxide to fluorinated silicate glass, to the use of inorganic/organic polymers and spin-on-material, to fluorinated diamond-like carbon and nanoporous silica. The book also addresses the practical aspects of the use of low-dielectric constant materials such as chemical mechanical polishing of these materials and optimization of wiring delays in devices utilizing low-k material.
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towDielectric Constant Materials for IC Intermetal
A Study of Anisotropy of Spin Cast and VaporDeposited
A Low eR Material Candidate for ULSI
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a-C:F film adhesion alloy ambient annealing applications as-deposited atoms BEOL capacitance chemical concentration crosslinking CTAC/TEOS cure temperature cured films dangling bonds decrease density deposition rate desorption dielectric constant DLC films electron ellipsometry etch rate evaporation F content film thickness films deposited fluorine fluorocarbon fluoropolymers frequency FSG films FTIR glass transition temperature groups HDPCVD hydrogen imidization increasing indicates integrated interface ISBN low dielectric constant low-k Materials Research Society measured mechanical metal moisture absorption monomers Multilevel Interconnection nanoporous nanoporous silica oxazole oxide Parylene parylene AF-4 peak PECVD PFCB Phys planarization plasma polyimide polyimide film polymerization polymers porosity precursor Proc properties PTFE ratio reaction refractive index resistance rf power sample semiconductor shows Si-F Si-O-Si SiDLC SiF4 silicon SiO2 SiOF films solvent spectra spectroscopy spin cast spin-coating stress structure substrate surface Symp thermal stability thin films ULSI vapor deposition wafer xerogel


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