Adobe on Adobe
Watch the discussion unfold from award-winning panelists
By Michelle Gallina | January 27, 2012
Academy-award winning VFX Supervisor Rob Legato (Hugo, Titanic), and filmmakers/directors Vincent Laforet (Revelry, Mobius), and Jacob Rosenberg (Act of Valor, Waiting for Lightning) discuss the changing world of filmmaking. Moderated by Sharlto Copley (District 9), panelists dive into a discussion on the digital advances in filmmaking technology and innovative techniques to create engaging, thought-provoking work on any budget.
A solid update to the popular plug-in tool brings new effects, new development partners including Nattress
By Scott Simmons | January 12, 2012
A big update just hit the Final Cut Pro / Adobe After Effects world this week with Noise Industries FxFactory 3. This update to the popular plug-in architecture introduces not just a lot of new effects but a new interface to the actual FxFactory program. This release sees an interesting new color correction tool from Yanobox and the first FxFactory tools from Nattress and an FCPX only transition package from idustrial revolution.
If you waited for later, that's now.
By Rich Young | December 16, 2011
Sure, Todd Kopriva said "This update is not available through the automatic update mechanism" in his notice on the After Effects CS5.5.1 update. For at least a few of us though, this update fell through the cracks, as we assumed that automatic update would happen eventually through Adobe Application Manager.
By Dennis Radeke | December 13, 2011
With the advent of version 5.52 of Premiere Pro, Adobe offered support for what NVIDIA calls Maximus on the PC platform. Maximus in essence is a Quadro card combined with a Tesla card. Okay, what's a Tesla card? Basically, it's a Quadro card without the display outputs - essentially, a headless GPU processing powerhouse.I wanted to take what I had done with the NVIDIA Quadro card comparison and apply the same tests to the Maximus card set I have. Read on, to learn the results.My previous blog entry is here - give it a read if you haven't gone through it yet. To review, I have a HP Z800 that is a couple of years old but still pretty solid all the way around. For my Maximus test, I took the comparatively lowly Quadro 2000 and matched it up with the Tesla C2075.
And reclaim some drive space in the process
By Scott Simmons | December 10, 2011
I learned something today about Adobe Premiere Pro that I was unaware of. The application creates a media cache when it imports media and that media cache seems to default to the system drive in the user Library folder. This cache can balloon in size over a period of time as I found out when cleaning up a drive. But it can be easily cleaned and relocated.
How does it compare with the other NLE approaches?
By Terence Curren | December 08, 2011
In this latest episode of The Terence & Philip Show, Philip and I discuss the different approaches manufacturers have taken to updating their NLEs to 64bit modern architectures. Focusing heavily on Media Composer 6, Avid's just-released 64 bit update to the venerable Media Composer.Click the link below and join the conversation.
Learn how Adobe CS 5.5 Production Premium handled the cutting edge demands of Vincent Laforet's short film Möbius.
By Michelle Gallina | December 05, 2011
On December 8 writer, producer and vfx artist Jon Carr presented how his team leveraged the capabilities of Adobe Creative Suite 5.5 Production Premium to help complete the short film Möbius edited by Vashi Nedomansky and directed by Vincent LaFloret.Here is a recording of the session.You can watch Möbius here: http://vimeo.com/31525127Möbius was shot using a prototype of the new Canon EOS C300 camera and was edited using Adobe Premiere Pro with effects shots produced using Adobe After Effects. Also integral to post production process were Adobe Story, Adobe Photoshop Extended and Adobe Media Encoder.Here are some highlights from Jon's presentation:Adobe Story> Plays nicely with other popular screenwriting tools such as Final Draft> The collaboration features of Adobe Story allowed Jon and his co-writer Justin Hamilton to share the script, mark up and make comments and have a dialog about needed changes.> The outline view lists scenes and uses color-coded dots to identify characters used in each scene. This feature helped Jon's team save money by identifying a scene requiring a single actor that could be rewritten to instead not use that character.Adobe Premiere Pro> Editorial started with 18 hours of source material and a tight schedule so editor Vashi Nedomansky was able to pass Adobe Premiere Pro project files back and forth with other team members to help identify selects and speed the editing process.> Other NLEs would have required the C300's Canon XF media to be transcoded before it could be edited, but Adobe Premiere Pro was able to work with the media natively so no transcoding was necessary.
a few articles that give information on which to base a buying decision
By Todd_Kopriva | November 23, 2011
We get asked a lot about what kind of hardware to buy for optimum performance for Adobe Premiere Pro (and After Effects). In fact, we get asked so often, that we've put together this brief FAQ entry:"FAQ: What computer and components should I buy for Premiere Pro or After Effects?"
Editors spend so much time in the timeline it's worth an in-depth look
By Scott Simmons | November 07, 2011
When working in a non-linear editing application the editor spends many, many hours working in the timeline. Boy do we spend a lot of hours working in the timeline. If you're moving from Final Cut Pro 7 to Adobe Premiere Pro 5.5 then you won't be totally lost as there are a lot of similarities between the two application's timelines. But there are some important differences as well. Let's take a closer look at the Premiere Pro timeline if you're moving from FCP 7. Did I mention how much time editors spend working in the timeline?
Automatic Duck co-founder Wes Plate talks about his past, present, and future with Adobe.
By Todd Kopriva | November 04, 2011
Last month, it was announced that Automatic Duck, makers of popular plug-ins for exchanging timelines between After Effects, Avid, Final Cut Pro, Pro Tools, and more, had partnered with Adobe to bring best-of-class interchange technology to Adobe Premiere Pro and Production Premium. As the President and co-founder of Automatic Duck, Inc., I was invited to join the team at Adobe and put my experience and ideas to work on the future of the suite.
With the move toward Adobe Auto Duck is doing a solid for the editing and post community
By Scott Simmons | October 28, 2011
It was just over a month ago that the post-production community was surprised by the news that the perennial workflow / transfer tools from Automatic Duck were suddenly gone. If you've been under a rock get up to speed on that news here and here. Another bombshell dropped Friday night when news broke that all those legacy Auto Duck products are now available for free.
This latest update allows roundtripping to and from FCPX as well as refinements for other workflows
By Scott Simmons | October 15, 2011
The engineers over at Blackmagic Design continue their mad dash to update and upgrade DaVinci Resolve. The end of last week saw the release of Resolve 8.1. This comes after the huge 7 to 8 upgrade we saw earlier in the year but this incremental update to 8.1 adds some pretty significant features itself. Probably the headline feature is support for Final Cut Pro X's new XML format. Secondary to that but equally important to those using Resolve in a grading facility is better Avid Media Composer roundtripping and some FCP7 XML updates. Plus you can even use Resolve 8.1 as a go-between to move from FCPX to FCP& or maybe Media Composer to FCPX! That is if that need ever really arose. Read on for a list of changes and some experiments with roundtripping.
By Michelle Gallina | October 11, 2011
Recently, David Dessel described his personal reasons for moving his work from Final Cut Pro to Adobe Premiere Pro. You can watch his presentation and learn about what factors motivated his transition here:"Confessions of a switcher, with David Dessel"If you want to learn more about Adobe Premiere Pro, check out these resources:Premiere Pro resources for Final Cut Pro and Avid Media Composer usersFAQ: How do I learn Premiere Pro?
Auto Duck is retooling their company as its co-founder moves to Adobe
By Scott Simmons | October 07, 2011
A bit of surprising news came across the tubes just the other day about one of the workhorse tool companies of post-production. That news was that Automatic Duck, and its founder and face man Wes Plate, had been scooped up by Adobe. It was quite a surprise to me as I have always seen Automatic Duck as a platform independent company. While they specifically made plugs-ins for Adobe After Effects and Apple Final Cut Pro these tools made it possible to to move edits into other systems including Avid Media Composer and Pro Tools as well as Quantel. And like that, Automatic Duck was gone … at least for a little while.
By Michelle Gallina | September 16, 2011
Thursday, 3 November, 10:00AM PDTIn this Ask a CS Pro session, Richard Harrington will provide an introduction to the Timeline panel in Adobe Premiere Pro.Richard will demonstrate basic editing techniques, such as insert, overwrite, ripple, and roll edits. He'll then move on to demonstrate the more advanced and powerful features in the Adobe Premiere Pro Timeline panel, including using a replace edit, creating custom transitions, and using Adobe Dynamic Link to exchange files with Adobe After Effects and Audition.Click here for information and to register for this online seminar.About Richard Harrington:Richard Harrington is the founder of RHED Pixel in Washington, DC (http://www.RHEDPixel.com). Richard is the co-author of the new book and DVD, An Editor's Guide to Adobe Premiere Pro. He is also the host of Creative COW's Premiere Pro video podcast. To find out more, follow Rich on Twitter @rhedpixel or visit his blog (http://www.RichardHarringtonBlog.com).
By Michelle Gallina | August 26, 2011
In this week's Ask a CS Pro session, Senior Solutions Engineer Colin Smith will provide an introduction to sound design, including matching audio levels, adding foley, understanding effects, and mastering for output to video with Adobe Audition CS5.5.Join us this Friday, 26 August, at 12 noon Pacific Time in our Connect Room: http://my.adobe.acrobat.com/askcspro (session start time for other time zones)The room will open 15 minutes before the session starts. At this time, please sign in as a guest to join.About Colin Smith:As Senior Solutions Engineer DMO with more than 14 years of experience at Adobe, Colin travels across North America evangelizing Adobe software to individuals, corporations, and professional associations. Mr. Smith is a certified Adobe expert in Acrobat and Creative Suite. He is a frequent speaker at Adobe's customer seminars, providing tutorials for business communicators, graphic designers, print professionals, and video and audio producers and editors. He also appears regularly on television and radio stations in major cities in Canada, including CP24 in Toronto, A-Channel in Ottawa, and CKNW in Vancouver.Mr. Smith also works closely with law enforcement agencies to leverage Photoshop and other Adobe technologies to fight crime. An avid music composer, video producer and photographer, Colin expresses his artistic voice through multiple media: music recordings, web sites, and digital photography and video.
Adobe Premiere Pro product manager Al Mooney helps editors new to Adobe Premiere Pro get up to speed quickly.
By Michelle Gallina | August 09, 2011
More and more Final Cut Pro editors are switching to Adobe Premiere Pro CS5.5 to take advantage of its workflow and performance features. In this week's "Ask a CS Pro" session, Al Mooney will review some of the most important workflow tips and tricks to help editors new to Premiere Pro to get up to speed quickly.Join us this Friday, August 12th, at noon Pacific Time in our Connect room. (session start time for other time zones)The room will open 15 minutes before the session starts. At this time, please sign in as a guest to join.The session will be recorded, and the recording will be made available soon after the session ends.Prior to the session, you can review these resources to help editors familiar with Avid and Final Cut Pro to learn Adobe Premiere Pro. About Al MooneyAl Mooney is the product manager for professional video editing at Adobe Systems Incorporated. He is responsible for defining, delivering, and supporting the overall feature set and functionality of Adobe Premiere Pro. Prior to this position, he was the Senior Business Development Manager for video and broadcast in the UK for Adobe. Before that, he worked for Apple as a Pro Video business development manager and for DigiDesign (part of Avid Technology) as a European sales specialist.
Check our these free video tutorials for Premiere Pro & After Effects
By Todd Kopriva | August 05, 2011
Andrew Devis and Karl Soule have both been creating excellent video tutorials about color correction and color grading recently, so I thought that it would be useful to gather links to them together in one place for convenience.Andrew's tutorials, especially, go far beyond just showing the UI controls in a specific piece of software. He also gives great advice that's relevant to color correction with any tool, such as working in a room with constant lighting and frequently resetting your eyes to real-world neutral by looking away from the computer screen.
Free eSeminar on editing with Adobe Premiere Pro if you're a Final Cut user
By Michelle Gallina | August 04, 2011
In this week's free Ask a CS Pro, Carey Dissmore will talk about the importance of demo reels, and provide an overview of the editing workflow in Adobe Premiere Pro from the perspective of an editor who is comfortable with Final Cut Pro. Carey will also share the similarities, differences and unique advantages of Adobe Premiere Pro, including its tight integration with other products in the Production Premium bundle such as After Effects, Photoshop and Audition.This eSeminar is free so mark your calendars for Friday, August 5, at 12 p.m. PT in the Adobe Connect Room: http://my.adobe.acrobat.co?m/askcspro. The room will open up 15 minutes before the session starts. At this time, please sign in as a guest to join.Session start time for other time zones are here. About Carey Dissmore:Carey Dissmore is a television and media production professional with 25 years in the business. His work spans the broadcast news, entertainment, advertising, documentary and corporate ranges. He considers himself an editor first, with a heavy amount of motion graphics design as well. He uses an enormous number of tools but the biggies are Final Cut Pro, Adobe Premiere Pro, After Effects and the full Adobe suite. Carey is currently working on shows for Food Network and Spike TV, while also designing, editing and animating a series of corporate and medical projects.Carey founded the International Media Users Group and the MediaMotion Ball at NAB, establishing it as a strong user community event that has been running since 1998. He is active on the MediaMotion IMUG and AE email lists that he helps administer.Carey is principal of Carey Dissmore Productions, Inc., based in Minneapolis, MN.
Premiere Pro has come a long way and is a real alternative for FCP users looking for a quick switch.
By Scott Simmons | July 26, 2011
Adobe Premiere Pro has been back in the post-production public consciousness for quite a while. Now at version 5.5 it feels like Adobe began really pushing it when the Mercury Playback Engine was added in 5. I've been toying with it off and on for quite a while now but with the recent release of Final Cut Pro X I wanted to give it a real-world, client in the room test. In the end it was both very good, kinda bad … and a little bit ugly.
Find out what the movers and shakers in Adobe's Dynamic Media Organization are thinking about,
and get a glimpse into their vision on everything from product direction to hot trends in the worlds
of video production and content creation.
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The Adobe Posters:
Bill Roberts: Director, Product Management
Colin Smith: Sr. Solutions Engineer – DMO
Dave Helmly: Sr. Business Development Manager
Dennis Radeke: Business Development Manager
Jason Levine: Sr. Evangelist
Kevin Monahan Online Technical Evangelist
Steve Forde Sr. Product Manager, After Effects
Al Mooney Product Manager, Premiere Pro
Ellen Wixted Sr. Product Manager, Adobe Story
Michael Coleman Sr. Product Manager, Video Editing Workflows
Michelle Gallina Sr. Product Marketing Manager, After Effects
Eric Philpott Product Marketing Manager, Audition & SpeedGrade
Meagan Keane Product Marketing Manager, Premiere Pro
Kathy Charneco Sr. Product Marketing Manager, Production Premium