Native Format Editing in Adobe Premiere Pro

In the past few years, a barrage of new video acquisition formats and recording methodologies have sprouted like mushrooms after the rain. The major shift has come in the form of tapeless, file-based acquisition that uses equipment that has its roots in the information technology industry.

As video post-production has scrambled to keep up, editors have been left with little choice than to become ersatz compression specialists and computer technologists. We all wear a few extra hats these days, but there are times when you just want to do what you do without a lot of additional work.

Adobe Systems has heard the cries of editors everywhere, and kicked open the door on a completely different way of working with tapeless, file-based media. Adobe Premiere Pro CS5.5, which is available standalone or as the anchor application of the Adobe Creative Suite 5.5 Production Premium bundle for both PC and Mac, is the company’s latest gambit in the evolution of non-linear editing and post-production. If you tried and dismissed Premiere sometime in the past before the software received a ground-up rewrite and gained the “Pro” suffix, it’s time for a second look. In this article, I will review both the general theory of the tapeless native file format workflow, and also give specific instructions (including video demonstrations) on how to get up and running quickly.

Disclaimer: Yes, I am an unabashed fan of this workflow, and can’t help sounding like a kid in a candy store about some of it - but read on and you’ll soon understand why.

NVIDIA’s Quadro 4000 for Mac, more affordable speed for the right application

It’s been several months since NVIDIA released their newest graphics card for the Macintosh. The Quadro 4000 for Mac uses their newest GPU architecture called Fermi. This card packs a whopping 256 cores onto a card that is half the physical size of the older Quadro FX 4800 (it had only 192 CUDA cores, the slacker). The other bit of news is that the 4000 has a smaller price than the FX 4800 had, coming in at just over $700 (street price) from an Amazon search. On top of all that there’s quite a few applications out there that are taking advantage of NVIDIA’s CUDA technology that lets apps harness all this GPU power. Read on for a look at several post-production tools and how they work with the 4000.

Update Alert! Magic Bullet Grinder

I really like good, focused, affordable post-production tools. Magic Bullet Grinder, one of the most focused tools of all, was updated today to take it from 1.0 to 1.5. That’s $49 for the Canon DSLR transcoding tool to buy it new but the 1.5 update is free. What’s new in 1.5? Best of all is more ProRes codecs and timecode support.

NAB 2011: Adobe’s Al Mooney Gives Us the Upside of Adobe Premiere Pro CS5.5

On Monday at NAB, the amazing people at Adobe arranged for me to meet with the project manager for Premiere CS5.5, Al Mooney, who very graciously took some time to enlighten me on what people can expect from this upgrade.  I was a bit skeptical going into the interview, as many times software upgrades that involve decimal points are repackaged versions of the previous one, but I have to say I was totally taken back by just how many new and improved features Adobe is offering in Premiere CS5.5.

According to Al, Adobe has been taking advantage of their very healthy community of users and bringing some of the top editors who use different platforms such as FCP or Avid to watch and see what these guys found challenging.

Is Cloud Based Editing In Your Future?

Is the cloud the future of editing: with a facility cloud or a remote cloud?
How will the tape shortage change delivery into the cloud?
How does cloud editing work?
Will the cloud be suitable for archive?
Will the cloud lead to outsourcing?

Check out the latest Terence & Philip Show by clicking below to join the conversation on the future of editing.

Blackmagic Design at NAB 2011 Part 2

Blackmagicdesign Hyperdeck Products from ProVideo Coalition on Vimeo.

The extended death of tape continues.  Blackmagic Designs gives us a look at the Hyperdeck line.  Again, the audio is pretty rough, but the info is good enough to share.

Blackmagic Design at NAB2011 Part 1

Blackmagicdesign from ProVideo Coalition on Vimeo.

Here’s a quick look at Blackmagic Davinci Resolve 8, including discussion of its new XML capabilities to ease the workflow with Final Cut Pro. A combination of a loud room and a hoarse throat doesn’t help the audio, but the info is good enough to share anyway.  Enjoy!

New version of the Canon FCP Log & Transfer plug-in

There’s a new version of the Canon EOS MOVIE Plugin-E1 for Final Cut Pro Log and Transfer plug-in that came online 4-05-2011. This is a maintenance update but it appears to address a few features in regards to the rigid folder structure that the plug-in has required (though it seems to have broken importing for a bunch of my 7D backups). Plus it’s free.

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