Edit Blackmagic & Magic Lantern RAW Right in Premiere with Ginger HDR

Edit Blackmagic & Magic Lantern RAW Right in Premiere with Ginger HDR « nofilmschool:
I’ve been talking a lot about offline/online workflows lately — how they have, in principle, been used for ages, and still play today, tape or no tape. Such a post production process allows less fortunate folks (such as myself) to work with footage like Blackmagic Camera CinemaDNG and Magic Lantern RAW on hard-pressed machines.

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Importing Premiere Pro CC DNxHD MXF Files into Avid Media Composer

Importing Premiere Pro CC DNxHD MXF Files into Avid Media Composer | Fallen Empire:
Premiere Pro CC introduced deep support for Avid’s DNxHD file format wrapped in Op1a MXF containers. To the uninitiated this may seem fine for cross-NLE workflows but there is an issue with importing these files into Avid Media Composer. Op1a MXF allow a user to wrap audio and video tracks together in one file while Avid, on the other hand, relies on OpAtom MXF which is a multi-file format that splits video from audio and connects them with metadata.

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See How Much You Can Do in Adobe Premiere Pro with a Multi-GPU Setup by Jeremiah Karpowicz

See How Much You Can Do in Adobe Premiere Pro with a Multi-GPU Setup by Jeremiah Karpowicz: Dave Helmly from Adobe was over in the AMD booth at SIGGRAPH 2013, and he took the time to show us some of the work they've been doing with AMD to allow users to do many different tasks at the same time and even open and use multiple programs.  He takes us though a few examples that showcase what the system can handle.

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Render Taxes

The Genesis Project : Render Taxes:
Today, I’d like to talk about a popular subject… I’d like to talk to about taxes.  Or more specifically “render taxes” as it relates to non-linear editors.  It’s been said that everyone pays taxes.  In the case of video editing workflows, everyone has to render their media at some point, which takes time (tax = time) and hence the concept of a ‘render tax’.

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The Adobe Premiere Pro to Autodesk Smoke Guide

The Adobe Premiere Pro to Autodesk Smoke Guide | wolfcrow:
There are few scenarios where one might want to move from Adobe Premiere Pro to Autodesk Smoke, and the strongest reason might be to take advantage of the native editing ability of Premiere Pro and the node-based compositing ability of Smoke.

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Smart Rendering in Adobe Premiere Pro

Smart Rendering in Adobe Premiere Pro | Adobe, Video:
This article is from the new website — Creative Cloud User The latest version of Adobe Premiere Pro CC adds some real power under the hood. When it comes to export your final project, you can often take advantage of Smart Rendering. To use this feature is pretty simple.

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Video Editing Apps: Premiere Pro vs Final Cut Pro X vs Media Composer

Video Editing Apps: Premiere Pro vs Final Cut Pro X vs Media Composer | Premiumbeat.com:

Deciding between Adobe Creative Cloud, Final Cut Pro X & Avid for pro video editing? Here are a few thoughts and opinions to help you make that call.

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Quick Tip: Fixing (Some) FCP to Premiere Problems

Quick Tip: Fixing (Some) FCP to Premiere Problems
Here’s a quick tip I encountered a few hours ago: I was moving an old FCP7 project to Premiere Pro CS6 through XML, and the import kept freezing/crashing Premiere. It was a large project with 500+ clip of P2 DVCPro HD footage transcoded to .mov in FCP. I did a little research and found this post.

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Premiere Pro gets Lumetri Deep Color Engine and a boost from Speedgrade

Premiere Pro gets Lumetri Deep Color Engine and a boost from Speedgrade
Adobe introduces Lumetri Deep Color Engine, a new tool to help editors get GPU optimized color control right inside Premiere. You can apply one of the existing presets, LUTs, or saved Looks from Speedgrade.

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Importing a Final Cut Pro Project to Adobe Premiere Pro

Importing a Final Cut Pro Project to Adobe Premiere Pro: 

Video editing is often a collaborative process. You may need to work with someone else’s editing project that was started using Final Cut Pro. Adobe Premiere Pro is a very flexible editing solution. You can easily import projects and media started on other edit systems. For example, moving a project over from Apple Final Cut Pro is a snap.


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Adobe Premiere Pro CC tutorial - Lumetri Deep Color Engine and SpeedGrade!

Adobe Premiere Pro CC tutorial - Lumetri Deep Color Engine and SpeedGrade!:
Adobe Premiere Pro CC has a lot of new tasty features and the Lumetri Deep Color Engine is one of them. It allows you to apply color grades and sophisticated looks within Adobe Premiere Pro, thanks to the new Lumetri Deep Color Engine integration. Of course its not as extended as many 3rd party plugins or SpeedGrade, but it can be more than enough for many filmmakers and editors. In Premiere Pro CC you can use the new Lumetri Looks folder in the Effects panel to apply preset color grading effects, so it works exactly like any other effect in the previous versions of Adobe's product. You can also use the Lumetri effect to locate exported .looks from SpeedGrade or LUTs from other systems. Andrew Devis of Creative Cow did a very nice video tutorial in which he shows the new option and how it may be used with SpeedGrade CS_Next to create, save and apply your own custom looks.

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Starting a Project in Adobe Premiere Pro CS6

Starting a Project in Adobe Premiere Pro CS6 - Production Apprentice:
FCP 7 is starting to show it’s age. You’re boss/company/client is making you change to something else. Which NLE will it be? Final Cut X? Avid? Perhaps, Adobe Premiere Pro? Well, I’m not here to tell you which one I think is best. Instead, I’m going to show you how all of them work and I’ll let you make the decision. This week, we’ll start with Adobe Premiere Pro CS6.

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Understanding Premiere Pro’s H.264 Export Encoding Settings

Understanding Premiere Pro’s H.264 Export Encoding Settings | Fallen Empire:
H.264 is the de-facto standard for file based video delivery, a fact we all know and live with. Premiere Pro tries its best to hide some of the more advanced aspects of it’s two h.264 encoding methods but there comes a point where sometimes we need to dig a bit deeper. I remember editing a commercial about 2 years ago where I was given a deliver spec with very specific needs about GOP size, B frame count, and so on. While Premiere allows you to edit keyframe distance (GOP size), it doesn’t let you control the amount of B frames directly. I compressed that video with FFMPEG/x.264 and I’ve been using it ever since for fine control.

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Offline to Online with DSLR, GoPro and other non timecoded camera files

I recently had to deal with GoPro footage shot in slow motion - 720p/100.
The footage doesn't import well into Media Composer. The files play back at normal speed at 100 fps instead of playing slow at 25 fps. One second of footage should be 4 seconds to play back, and it wasn't. I got the same results in various project settings (25p, 25i, 50p...)
The workflow that best worked here was as follows:

• Import footage to Adobe Premiere Pro into a 25p project
• Select all clips, optn/ctrl click and choose Modify -> Interpret Footage and click Assume this frame rate - 25
• Drag all clips to a new 720p/25 sequence (optionally ctrl click and Unlink Audio)
• Click on the sequence you created and choose File - Export - Media and choose your favorite format. I chose DNxHD 185 720p/50 10 bit because it imports very quickly into Media Composer as it only doing a re-wrap and not actually transcoding the file, and it's good enough for television mastering.

What you end up with in this workflow is one long file, an equivalent to a digital tape, from which you work both your offline edit and finishing. It's the easiest and quickest way to conform your online (only one file to link) and saves an extra transcoding job.
This workflow will work fine for television. When going to bigger screens, DCP for example, it might compromise quality too much.
This workflow will suit most non timecoded camera files such as those from DSLR cameras, GoPro, mobile phones and others.

Premiere Pro CS Next: Lumetri Looks Applied as Presets

Premiere Pro CS Next: Lumetri Looks Applied as Presets | Premiumbeat.com:
A new feature in the upcoming version of Premiere Pro will allow you to quickly add color grading to your video editing projects.

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Adobe Premiere Pro: Link & Locate

Adobe Premiere Pro: Link & Locate | Adobe at NAB 2013 | Adobe TV:
Modern productions are built on hundreds (if not thousands) of clips. It's easy to lose track of files, proxies, and backups saved on multiple drives. Link & Locate helps you track down your clips quickly, making media management more efficient.

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Premiere Pro Next Introduces Avid DNxHD Preview and Smart Rendering

Premiere Pro Next Introduces Avid DNxHD Preview and Smart Rendering:
Kevin Monahan was kind enough to chime in on my question on the Adobe forums concerning what Adobe means when they say Adobe Premiere Pro Next will include full support for MXF-wrapped Avid DNxHD files. Turns out they really mean full support, including timeline preview rendering and smart rendering during export.

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RE:Vision Effects Releases RE:Match Multicam Color-Matching Plug-in for Adobe Premiere Pro and After Effects

RE:Vision Effects Releases RE:Match Multicam Color-Matching Plug-in for Adobe Premiere Pro and After Effects - Streaming Media Producer:
RE:Vision Effects, acclaimed effects plug-in industry leader and makers of Academy Award winning software, announces the initial release of RE:Match for Adobe® After Effects® and Adobe® Premiere Pro®. RE:Match takes intuitive color and texture matching to a whole new level by addressing common problems on multicam and stereo shoots. RE:Match is a set of plug-ins to match one view of video or film to another so that it looks as if it was shot with the same camera and settings. RE:Match assumes that both image sequences are taken roughly at the same location but perhaps were not shot at the same time or from the same point-of-view.

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Premiere Pro Next Vs FCPX 10.0.8

Premiere Pro Next Vs FCPX 10.0.8 | Jonny Elwyn - Film Editor:
If you’ve been following the NAB 2013 announcements you’ll know that Adobe is making steady strides towards the professional post-production market with plenty of new features that editors have been requesting for quite some time.
Also in the run up to NAB Apple went on a charm offensive; getting some articles in the LA Times about FCPX and releasing some new ‘pro user case studies‘ on their site. This came in the midst of a small update to FCPX 10.0.8.

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Vizrt enhances Viz Media Engine integration with the next version of Adobe Premiere Pro software

News: NAB 2013: Vizrt enhances Viz Media Engine integration with the next version of Adobe Premiere Pro software:
Vizrt’s integration with Adobe Premiere Pro gives editors more efficient access to source material by allowing them to search and select from Viz Media Engine directly within the panels in Adobe Premiere Pro. This integration has been further enhanced for even more efficiency in the workflow and better integration for Mac users.

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