After considerable discussion at my institution we chose to migrate to Premiere. While there were some amongst us who were quite comfortable and enthusiastic about FCPX, the consensus was that it was not flexible enough to accommodate the experimental work we wanted to support nor compatible with much of what the industry was doing. I started with an early version of Premiere, quite loved it, resented FCP until I grew to quite like it, and am now quite comfortable with the newest version of Premiere. Our students have had no trouble picking it up, indeed there are some fine tutorials on Lynda.com that are designed for users of FCP7. (Students, in general, have no trouble picking just about anything up.) Advantages- Premiere ingests just about everything- no need to fret about converting H.264's, or MTO's; it handles multi-layered structures without the need for rendering (on a decent machine); much of the interface is similar to FCP7. Disadvantages: CS6 has some very annoying ways of handling markers and nested sequences, but these seem to have been addressed in the Creative Cloud version. And this leads to the major factor, elicited by an earlier respondent: the pricing structure for the Creative Cloud version. You can no longer just buy the software; you have to lease it, an addiction every bit as nefarious as smack. The argument is that one doesn't have to constantly upgrade to resolve software issues- but this comes at the considerable cost of a demoralizing dependency. We managed to get some kind of institutional deal from Adobe, but i don't know the details on this. I know of a number of other artists who bought their own copies of FCP7 or CS6 and are just sticking with them, but that won't work if you've got an IT department that insists, as they all do, on making maintenance the primary consideration..
Peter Rose
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