Can a professional really use Premiere Elements 10?

I first wrote about Premiere Elements back when version 9 was first released for the Mac. At that point, I received an NFR (Not For Resale) copy from Adobe but was so concerned about its lack of direct support for PsF in AVCHD that I delayed writing about it again while I exchanged e-mails with the Premiere Elements team. In the meantime, I kept myself quite busy covering other topics, and earlier this week, I published chapter 9 in the PsF’s missing workflow about how to get around Premiere Elements’ current lack of direct support for PsF in AVCHD, and even direct support for native 23.976p (“24p”) in AVCHD. In this article, I answer a logical question: Can a professional really use Premiere Elements? This sub-US$100 program is available for Mac or Windows. Here are the answers.

PsF’s missing workflow, Part 9: Premiere Elements 10

In parts 1-3 of the PsF’s missing workflow series, we introduced the terms benign PsF & malignant PsF, and revealed the PsF status of several AVCHD cameras from 3 manufacturers. In #4, we did the same with several HD recorders. In #5, we revealed how one recorder manufacturer is offering its own software to counteract the inappropriate signals offered over HDMI by many cameras. In #6, I published an open letter to all pro AVCHD manufacturers. In #7, I covered how to deal with PsF on a progressive sequence in Premiere Pro CS5.5. In #8, I showed how ClipWrap is an excellent solution for many Mac editors. Now in #9, I’ll discuss PsF with the sub US$100 Adobe Premiere Elements 10.

Sony’s FS100 camera to become “WorldCam” via free firmware update

Sony USA has just officially announced that the (so-far) segregated 59.94Hz FS100 camera (officially known as the NEX-FS100, often followed by a regional suffix, and then sometimes by the letter “K” to indicate that it is a kit, packaged with a lens) is about to go “WorldCam” via a free firmware update sometime at the beginning of 2012. “WorldCam” is a term used to indicate that a camera has the necessary framerates to be used worldwide, similar to an unlocked quad-band GSM phone that I have used for more than a decade to travel internationally without roaming charges. Beyond using a camera worldwide, having a WorldCam camera is also helpful when a producer needs to acquire content to be broadcast primarily in another country which uses a different framerate. This article will cover the novelistic history of the FS100’s uncertain potential capacity to become WorldCam, as well as some other improvements included in the upcoming firmware update… and some other improvements that are still missing.

Sony’s NX70 camera to receive its missing 29.97p framerate via free firmware update

Sony has just announced that the NXCAM camera model known officially as the HXR-NX70 (often followed by a regional suffix) —but colloquially known simply as the NX70— will receive the vital 29.97p framerate via a free downloadable firmware, sometime in the first quarter of 2012.  Well, let me get a little more specific: The 59.94Hz segregated versions of the NX70 will get 1080PsF29.97. This article will explain how vital this framerate is for many producers in ex-NTSC countries, and cover some other improvements included in this update, together with a few that are still missing.

PsF’s missing workflow, Part 8: ClipWrap to the rescue

In parts 1-3 of the PsF’s missing workflow series, we introduced the terms benign PsF & malignant PsF, and revealed the PsF status of several professional AVCHD cameras from 3 manufacturers (Canon, Panasonic, and Sony). In #4, we did the same with several HD video recorders from 6 different manufacturers. In #5, we revealed how one recorder manufacturer is offering its own “Band-Aid” software to counteract the inappropriate signals offered over HDMI by many camera manufacturers. In #6, I published an open letter to all pro AVCHD manufacturers. In #7, I covered how to deal with PsF on a progressive sequence in Premiere Pro CS5.5. Now in #8, I’ll reveal how the US$49.99 middleware known as ClipWrap will be the cure-all for all of AVCHD’s multiple weaknesses, including both types of PsF, at least in the short term.

PsF’s missing workflow, Part 7: Adobe Premiere Pro CS5.5.x

In parts 1-3 of the PsF’s missing workflow series, we introduced the terms benign PsF & malignant PsF, and revealed the PsF status of several professional AVCHD cameras from 3 manufacturers (Canon, Panasonic, and Sony). In part 4, we did the same with several file-based HD video recorders from 6 different manufacturers. In part 5, we revealed how one recorder manufacturer is offering its own “Band-Aid” software to counteract the inappropriate signals offered over HDMI by many camera manufacturers. In part 6, I published and Open Letter to all pro AVCHD manufacturers. Here in part 7, I’ll cover how to deal with 25PsF and 29.97PsF on a progressive sequence in Premiere Pro CS5.5.x.

PsF’s missing workflow, Part 6: Tépper asks the camera manufacturers…

In parts 1-3 of the PsF’s missing workflow series, we introduced the terms benign PsF & malignant PsF, and revealed the PsF status of several professional AVCHD cameras from 3 manufacturers (Canon, Panasonic, and Sony). In part 4, we did the same with several file-based HD video recorders from 6 different manufacturers. In part 5, we revealed how one recorder manufacturer is offering its own “Band-Aid” software to counteract the inappropriate signals offered over HDMI by many camera manufacturers. Starting with part 7, I’ll begin offering workarounds within several software editing programs, and with at least one external application. However, here in part 6, I am asking questions and making suggestions to the 3 professional AVCHD camera manufacturers who are responsible for creating this entire mess in the first place.

PsF’s missing workflow, Part 5: Átomos hires a stripper!

In part 1 of PsF’s missing workflow, we introduced the new terms benign PsF and malignant PsF (Progressive Segmented Frame), reviewed their vital importance and fragility in post-production, and clarified the PsF status of two Panasonic professional AVCHD/AVCCAM cameras. In part 2, we revealed the PsF status of the Canon XA10 professional AVCHD camera. In part 3, we clarified the PsF status of Sony’s professional AVCHD/NXCAM cameras. In part 4, we covered some portable HD recorders and their PsF status. Now, in part 5, we’ll learn why Átomos (manufacturer of the portable HD recorders creatively called Ninja and Samurai) has hired a stripper to help correct the malignant PsF signal that many cameras output via HDMI.

PsF’s missing workflow, Part 4: file-based HD video recorders

In part 1 of PsF’s missing workflow, we introduced the new terms benign PsF and malignant PsF (Progressive Segmented Frame), reviewed their vital importance and fragility in post-production, and clarified the PsF status of two Panasonic professional AVCHD/AVCCAM cameras. In part 2, we covered the PsF status of the Canon XA10 professional AVCHD camera. In part 3, we clarified the PsF status of Sony’s professional AVCHD/NXCAM cameras. Now, in part 4, we’ll cover some file-based recorders (from manufacturers like AJA, Átomos, Blackmagic, Convergent Design, Datavideo, and Sound Devices), their PsF status, and their purpose in your system and workflow.

PsF’s missing workflow, Part 3: Sony’s AVCHD & NXCAM cameras

In part 1 of PsF’s missing workflow, we introduced the new terms benign PsF and malignant PsF (Progressive Segmented Frame), reviewed their vital importance and fragility in post-production, and clarified the PsF status of two Panasonic professional AVCHD cameras (branded as AVCCAM). In part 2, we clarified the PsF status of the Canon XA10 professional AVCHD camera. Now, in part 3, we’ll clarify the PsF status of Sony’s professional AVCHD cameras, some of which carry the NXCAM brand.

PsF’s missing workflow, Part 2: the Canon XA10 camera

At US$1,999 street price including balanced XLR audio inputs, the Canon XA10 AVCHD camera is quite interesting from several perspectives, and that’s probably why so many of my consulting clients who favor 25p or 29.97p and need balanced audio have chosen it. The XA10 reminds me of a shrunken, sexier-looking Panasonic AG-HMC40. The XA10’s CMOS sensor is larger than that of the AG-HMC40, and rather than oversampling with higher than 1080p resolution, Canon decided to make it native 1920x1080 and skip the 720p modes altogether, so there is no scaling and better sensitivity than the HMC40. But this article is not a review about the XA10s specs and feature set, but how it stands in terms of PsF status, and how that unfortunately complicates —or jeopardizes— its ideal post workflow for those producing 25p or 29.97p.

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