If you want to work in the industry, the PA is the ground floor. WORK WORK WORK. SCRAMBLE SCRAMBLE SCRAPE. You learn what real world vs film school means and most importantly, you'll make contacts. Hopefully you're on good terms with film school buddies, so you can get work/opportunity through them....which in this day is the most valuable part of film school. I had no Youtube to teach me everything growing up. No Iphone or cheap cameras and Macbooks to edit on. Theory is easy. Understanding lighting, lenses and every other concept that can be written down, is easy....at least it should be. The rest is your personality and work ethic. And without both of those, you would have to be either very wealthy so you can pay other people to work for you, or so supremely talented no one can ignore you. But even then, most people don't want to be around talented dicks, even though there happens to be a lot of them...which is why I moved to the corporate/agency route=)
Like others said, post houses and long time hollywood editors are invested in AVID and when you're dealing with massive amounts of footage, where stability is key, AVID does really shine. AVID workstations are built from the ground up as dedicated PCs. Custom drivers. Custom accelerator add-ons and specific EVERYTHING. An AVID workstation doesn't talk nicely with Adobe products actually, besides maybe PS. Something always suffers. We've gone many years trying to have both work efficiently on a single PC and it's ALWAYS been a headache in one way or another. We still have 1 AVID system, strictly for some legacy projects.
But AdobeCC is gold when you don't have dedicated jobs and everyone has to do a little of everything. We've found paying so much more for AVID and getting essentially a whole lot less, wasn't a good road to stay on.
But yeah, it's best to know both if you're bouncing around. And frankly, it doesn't take long to learn. A rolling edit or a ripple is what it is on any software;) The buttons and shortcuts are just different, which can be customized anyway.
The demo video wasn't great. Movement looked phony & stretched, like a bad cloning job in PS..
I think the attitude is that if you NEED that higher bitrate for anything "professional" you're getting paid and if you're getting paid, you're flying a "real" production drone, not an expensive toy. And that's what these are, hobbyist toys. Their website even says it in B&W..."Consumer" NOT Professional. Go rent or hire someone with an Inspire or better if you're getting paid. Not to say Phantoms aren't professional, but you get the jist.
Like Michael said above me, PP has an integrated, mostly transparent proxy workflow now. If you notice the system bogging down, click a button and viola, you're working with lower res files and a simple toggle lets you switch back and forth for final rendering. Let it run overnight or work while its transcoding in the background. Depends on your system. Besides any bugs that invariably will crop up, it can't get any easier than that.
My favorite beast. I have an alien figure clutching the side of my monitor right now. Ooops, there goes my phone with an alien hiss, text notification SFX=)