I never thought I would say this but i am learning how to cut in Premiere. I aways dismissed it as an amateur tool. Much preferring my Final Cut Pro. All because this CS5 is damn amazing. You do need a powerful MAC with the right graphics cards. My new i7 17″MBP works great with it.
I learnt to cut tape to tape, then basic FCP, then AVID, then properly FCP and never look back. I adore FCP and use it almost every day but I was offered the chance to try out CS5 by Adobe with no strings attached, just simply try it and give us feedback! I of course jumped at the chance. I have heard about this ability to edit in Native h264 without conversion and still not lose anything by doing this as I would expect. That’s why I convert to Pro RES with FCP to get it into 10bit. Just how does this compare? I have no idea. As I am still very basic at this. But i understand it can take multiple frame rates in it’s timeline, multiple formats like RED, FLip mino and cope just fine and play back in realtime without rendering many effects. It’s all very complicated and am very much in the basic phase but I hope to be up to speed in a week or so. I will continue to share my thoughts through this blog.
A market that i know who will LOVE this is the wedding market with there SAME DAY EDITS shot using DSLRs, this would make their stress levels at lot lower!
Jason Levine wrote this piece for PVC and did an excellent video all about it. He explains it way better than me! Jason is an Adobe Evangelist and he is often seen at events promoting Adobe which is where I met him at a FPUG meeting.
Native DSLR Editing in Premiere Pro CS5
Now that CS5 has officially been announced, launched, and available for download and purchase, I figured it was time to blog about one of my favorite features in Premiere Pro…Native DSLR editing.
A few months back, while on Press Tour in Singapore I purchased a Canon 7D. Having only worked with some 5DMKII footage (during our demo-asset creation phase) I was really psyched to ‘get my hands dirty’ and see what these cameras could do on the video side. And more importantly, really test the power and push the boundaries of the Mercury Playback Engine.
In this brief tutorial, I’ll show you (very quickly) how to take your DSLR footage, regardless of frame-size, frame rate or aspect ratio, and start cutting your vision together…in seconds. As with RED R3D, AVC-Intra and XDCAM-EX (among many others), we handle DSLR footage NATIVELY; those H.264 files straight from your Canon or Nikon cameras can be dropped into Premiere Pro, and you just, well, EDIT. No transcoding, no wasting time. And remember: Bridge CS5’s ‘Photo Downloader’ can be used to simply grab the video files from your camera’s media card. That’s how I do it (but you’ll see reading from cards directly too). Adding transitions, Color Correction, Keying, other effects…it all works the same. And the with amazing new 64-bit Mercury Playback Engine, you can work with these effects and playback without rendering.** Check it out…
I hope to do a little follow-up in the coming weeks on some additional DSLR workflows. In the meantime, if you want to learn more about the power of the Mercury Playback Engine (and the 64-bit capabilities of Premiere Pro) be sure to check out Karl’s latest Short & Suite episode.
And if you want to download the trial of CS5 Production Premium, click HERE.
Blog on…preferably, in 64-bit
**Mercury by itself is a software engine. As such, even on my MBP laptop (the newest model, 17” COREi7 w/8GB RAM) I’m able to typically add Fast Color Corrector (a 32-bit floating-point color effect), Sharpening and Levels and *still* get real-time playback, without any kind of rendering or GPU acceleration. For more info on leveraging Mercury with GPU-accelerated cards, watch the Short&Suite video above.