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(Page 1 of 3 pages for this article 1 2 3 >) Filed under: GentryMedia Sister Sites •ProVideo Coalition • Premiere Pro for DSLR in a few easy stepsThe Adobe application’s handling of DSLR and other card-based media is straightforward and quick, as it should be.
Let’s face it, a lot more editors, artists and animators have Premiere Pro loaded on the systems they use every day than are actually using it. And yet over the last few years—and in particular over the past year, since Adobe started demoing real-time playback of all kinds of files, including 4K RED .r3d source, in Premiere Pro on systems with CUDA-enabled nVidia cards—there’s been this notion that the application is really pretty good, and worth learning more about. Sure, clients tend to ask for other non-linear editors, so even if your day-to-day job demands that you edit in some other application, the question remains, what are you missing out on in Premiere Pro, both with its integration with other Adobe apps and by itself, if you’re not using it? I’ll be focusing on this in more than one article.
To begin with, I thought I would take a look at what the app can do with DLSR footage, since I basically have my choice of what app to use with footage from 7D or 5D, as well as related cameras with similar formats like the GoPro I have sitting here. I’ve heard that Premiere Pro kicks ass with these formats, but is it true, and even if true, is it useful? My DSLR workflow, I have to admit, has been sloppy at times. In the early days there was no application that handed the ingest process nicely, so I got into the habit of just dragging files with their original names and timings right off the card onto a local drive, then importing them wherever needed - in After Effects or Final Cut Pro, say. Lately Lightroom 3 tempts me with its ability to handle both the videos and stills on that card. But if you asked me to show you my organized volumes of video from my own cameras, you might see a sad, wistful expression cross my face. And improving that situation sounds cumbersome, for a few reasons:
The above assumptions are based on having worked with After Effects, Final Cut Pro (with its dramatic revamp still at least a month out) and Lightroom. My main reasons then, to think of Premiere Pro when I first remove the CF card from the camera and insert it in the card reader could be:
Step One: Preview
01_ppro_Preview from ProVideo Coalition on Vimeo. The Media Browser panel in Premiere Pro lists all attached volumes that show up in the Finder, including any CF card that might be attached via a card reader or the camera. That means that to preview a clip from the card, you can simply double click it and hit play in the Source panel (and use the tilde ~ key to bring that up full screen). It’s essential to understand that there is no transcoding in Premiere Pro of DSLR clips, whether or not the display card is CUDA-enabled. Previewing a clip directly from a CF card shouldn’t be a big deal—after all, you can do this from the Mac Finder just by hitting the space bar—yet video applications that aren’t compliant with as wide a variety of formats as Premiere Pro obstruct the process (click here for Premiere Pro’s system requirements). I was equally able to preview mp4 files from the GoPro at full speed and resolution; it didn’t even matter whether I was on the Mac Pro with its CUDA-enabled nVidia Quadro FX 4800 card or on the Core I-7 Macbook Pro and ATI display technology, therefore not among the supported cards. The default “Buffersize” (why one word?) for Audio Hardware is too stingy to play more than a couple of seconds before audio drops out, but on a system with ample physical memory there is no downside to maxing that out.
(Page 1 of 3 pages for this article 1 2 3 >) 
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