tage of nepotism—its family includes Photoshop, the No. 1 photo editing application, and After Effects, a beloved motion-graphics tool.
Similar to Final Cut and Avid, Premiere is making inroads in high-definition capture and editing, and Rosenberg is excited: "We have a really affordable solution for people who want to work in HD. Right now I'm cutting a feature called 'Dust to Glory' for the guy who made 'Step Into Liquid' that's all being cut on HD." And for the legions of DV shooters and editors, Premiere is a viable solution that has always been there. "We're kind of the dark horse," Rosenberg says. "We're here now. We have a really good feature set. It's a great program."
The Next Wave
Until this year, Sony's Vegas video editing software was seen more as an amateur tool than a professional cutting station. Longtime editor Timothy Duncan, however, a veteran of every kind of editing on every type of system imaginable, has become a true believer in Vegas. "[Vegas] is always my flavor of choice when I have the choice," says Duncan from his home in Nashville. "I still do some Final Cut Pro work and Avid work. [But] I always bring Vegas with me, and inevitably find a way to utilize Vegas on the project."
Vegas, which exists only on the PC platform, offers editors a simple and powerful editing environment. Eric Falkner, a die-hard Vegas user, believes that Vegas' strength lies in its ease of use: "Vegas is the easiest [NLE] to just show someone how do to basic cuts and dissolves. It's very intuitive, no matter how much you know about NLEs or not. For actors, directors, people who aren't editors, it's really simple."
In addition to powerful sound editing and eye-bugging real-time effects, Vegas is capable of pulling off feats that were previously impossible on any system, such as multicamera editing and "subframe" audio editing.
For filmmakers, choosing an editing platform is never an easy decision, but with the features available today they should at least be able to find a platform on which they're comfortable. Horton wants editors to know what can be done on every platform. "We had this meeting last month where I brought in all the other NLEs, including Avid, Premiere, and Vegas," he says. "I think it's real important that everybody see what else is out there."
Ben Rock writes for Back Stage West.