CAT | Adobe
Adobe revealed record quarterly earnings on March 17th, with $1.38 billion in quarterly revenue ($5.5B annualized) and 4.252 million Creative Cloud subscribers (us included).
Of course, Adobe is strongest in document handling and photography but every subscriber has access to the entire Creative Cloud suite. I believe the integration between the video and audio apps is one of Adobe’s strengths in the creative TV, film and video space.
If I had to place an educated guess, I’d say there are more active Premiere Pro CC users than Media Composer active users, but not as many as Final Cut Pro X.
Peter Wiggins of FCP.co asked me why we changed the name of Xto7 for Final Cut Pro to XtoCC. Here’s my answer.
A very subjective take on NAB 2015 because I spent very little time looking at tech! Instead my focus was on the FCPWORKS demo room and particularly my Lumberjack System presentation on Wednesday. But, of course, NAB is also about the socializing.
While my personal NLE preference is for FCP X, I cannot live without my (paid) Creative Cloud subscription. Very early in my career I pretty much made a living off Adobe After Effects (v2 through 4) and Media 100 as the de-facto “motion graphics” house in my home town. I’m a constant user of Photoshop, Illustrator, Dreamweaver, and now Muse.
Adobe have done an excellent job of creating a great set of creative tools, and they’re ramping up this NAB with some cool technology. I’m only going to touch on the things that excited me in the preview briefing, but there will be a lot more previewed at NAB and probably more in the release than they discuss.
I was saddened, but not really surprised, by this week’s announcement that Adobe were pulling Speech-to-Text transcription from Premiere Pro, Prelude and AME. As Al Mooney says in the blog post:
Today, after many years of work, we believe, and users confirm, that the Speech to Text implementation does not provide the experience expected by Premiere Pro users.
I am saddened to see this feature go. Even though the actual speech-to-text engine was somewhat hit or miss, there was real benefit in the ability to import a transcript (or script) and lock the media to the script. So it’s probably worth keeping the current version of Premiere (or one of the other other apps) to keep the synching function, as the apps will continue to support the metadata if it’s in the file.
Co-incidentally, we had a feature request recently, wanting a transcription-based workflow in Final Cut Pro X. When questions on how he’d like it to work, he described (unintentionally) the workflow in Premiere Pro!
In fact, I’d almost implore Adobe to keep the ability to import a transcript and align it to the media, using a speech analysis engine. That way the industry will have an alternative to Avid’s Script Sync auto-alignment (previously powered by Nexidia) tools currently unavailable in Media Composer. The ability to search – by word-based content – hundreds of media files with transcripts, is extremely powerful for documentary filmmakers.
And yes, there is the Nexidia-powered Boris Soundbite, but there is one problem with this waveform-matching approach: there is no content metadata. Nor anything (like text) we can use to derive content metadata.
Today, Adobe held a “family and friends” screening of Gone Girl on the Fox lot. It felt very much like Adobe’s formal Debutante appearance in Hollywood – the world of Studio films. For those who do not know, David Fincher’s Gone Girl was the first studio film edited on Adobe Premiere. It must be a proud day for the entire Adobe Premiere Pro team, but I couldn’t help but reflect on what a great day it must be for Adobe’s Mike Kanfer, who has worked tirelessly promoting Premiere Pro within the Hollywood Filmmaking community to see this day happen.
It’s a damned good film, you should go see it, although I was a bit squeamish in one part.
Anyway, Greg and I – aka Intelligent Assistance – were very proud to have been a small part of Adobe’s success story, by providing the crucial Change List tool for Adobe Premiere Pro. We’ve still to commercialize it into an Adobe Panel, but it’s coming.
We were also very pleased with a “Special Thanks” credit on the movie itself. It’s right at the end but we’re in good company.
Adobe have previewed their IBC video app presentations and have confirmed that they will be continually adding new features to the Creative Cloud.
FCP.co’s lead story today is good news for Apple and Final Cut Pro X – The BBC are adopting more than 1000 seats of Final Cut Pro X for news. To be fair, the BBC seems to be adopting both Final Cut Pro X and Premiere Pro across their own production units, and some remain on installs of Media Composer, but News seems to be going Final Cut Pro X exclusively.
My Apple PR contacts tell me that Final Cut Pro X is also being used on “several popular daytime shows” as well.
In other good news, not reported (yet) on FCP.co, the French TF1 group have also adopted Final Cut Pro X. According to this Tweet both Premiere Pro CC and Final Cut Pro X were tested, with Final Cut Pro X getting the gig.
Of course, come IBC I’m sure Adobe will share some of their new partners as well, and no doubt, increased Creative Cloud subscribers.
In this episode Terence and Philip discuss NAB 2014: Avid’s direction, AJA’s new camera, drones and cars that drive themselves, the new Dolby monitor, NAB excitement levels, and Lumberjack System.
This week Adobe announced the next version of their Creative Cloud video apps with a solid feature release that should alleviate concern that the pace of change would reduce under the subscription model. It seems – with 1.8 million subscribers – that subscription is working for Adobe and their customers. Adobe detail the improvements to Premiere Pro on their blog, but I want to focus on another part of their announcements.