Dispatches from the Digital World

Dispatches from the Digital World

adobe premiere video production

A Video Editor’s Perspective on Making the Switch from Final Cut Pro to Premiere Pro – Part 3
Three-Part Series

I won’t bore you with all of the nerdy details of how much awesome sauce Premiere is packed with, but I will highlight two of my favorite features that have vastly improved my editing workflow.

Adobe Integration
To me it’s a no brainer that an Adobe editing program should work together with other Adobe programs, but I just couldn’t believe the extent of how well it does!

Prior to switching to Adobe Premiere, my three editing tools were: Final Cut Pro (FCP), Photoshop & After Effects (AE).  FCP (by Apple) & AE (by Adobe) just didn’t work well together. For motion graphics, I’d have to render out a flattened movie file to bring into Final Cut, which ate up a lot more hard drive space & took longer to get a polished video.

Now that I have Premiere, I send a video to AE and any edits I make in AE will automatically update in Premiere without rendering, making my life much easier! And for clients, that means less billable time. It’s a win-win.

Adobe Premiere Project Size
I’ll never forget archiving one of our last FCP projects. This project with all associated media assets was 960 gigabytes. That’s right, almost 1 terabyte!

Now, had this project been edited with Premiere, that same project would’ve only been around 100 gigabytes or maybe even less! How you ask?

Premiere accepts the native camera codec for just about any camera you can think of — Panasonic P2 media? Check. Nikon D7000 DSLR? Check. Canon 7D DSLR? Check. GoPro? Check. Sony FS-700? Check. No more conversion!

With FCP 7, almost all newer camera codecs (GoPro, Nikon D7000, Canon 7D, etc) need to be converted to a FCP friendly codec in order to edit.

During this project, we used quite a few GoPro angles and had to convert four 20+ minute video clips to Apple ProRes format — which meant turning a 2.4-gigabyte file into a 22.4-gigabyte file. There was no upgrade in quality, which only allowed us the ability to use that shot in Final Cut Pro.

So far, Premiere has tackled every camera codec I’ve thrown at it!

At this point, you might be thinking, what does any of this have to do with our clients? Because at the end of the day, when all is said and done, we get to spend more time crafting and polishing our clients’ messaging and less time preparing and managing their media files. Adobe realized this and made that process as quick as possible so that editors can dive directly into the heart of what your project should be all about — telling your story.

By Matt Bjur, Video Editor/Producer at Master Communications Group

A Video Editor’s Perspective on Making the Switch from Final Cut Pro to Premiere Pro – Part 2
Three-Part SeriesFCP to Adobe Premiere

We often get asked which editing software we use, so in part two of this three part series, we’ll talk about how we recently switched from Apple’s Final Cut to Adobe Premiere.

We knew it was time to make the change from Final Cut to Premiere. Third party vendors were no longer supporting Final Cut Pro 7 and it was obvious that Apple was targeting consumers instead of video professionals. Meanwhile, Adobe was improving on Premiere and many video production companies were changing over.

We subscribed to Abode’s new CC program – a cloud based monthly subscription service. Leaving the familiarity of Final Cut and switching to Premiere required some adjustment. The editing technique is very similar to Final Cut, but Premiere seemed to be way more efficient as I began using it. I discovered tricks and techniques that sped up my workflow. I found I no longer needed to normalize my audio track outside of the editor. Plus, just knowing that Adobe will be supporting the professional editor into the foreseeable future gave me confidence in the switch.

By Matt Bjur, Video Editor/Producer at Master Communications Group

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Next up: Two of My Favorite Adobe Premiere Features

mattbjur-mastercommunicationsgroup

A Video Editor’s Perspective on Making the Switch from Final Cut Pro to Premiere Pro — Part 1
Three-Part Series

Remember those black, analog cartridges called VHS cassettes? How about biking to the nearest Blockbuster to browse the latest selection of recently released Hollywood hits. You’d watch a movie with family or friends, eject the tape and on the tape was a “Be Kind, Rewind” sticker. Sometimes it felt like rewinding the movie took just as long as watching the movie. As you reflect on technology, this wasn’t all that long ago.

Since joining Master Communications Group, I’ve delivered videos to clients on VHS, Betacam, mini-DV, DVD, Blu-Ray and through online streaming services like YouTube or Vimeo. That’s a lot of change in ten years. Now ask someone who’s been in the industry longer and they can probably double that list.

Change happens. Technology improves, quality expectations change, delivery methods evolve, video codecs improve – such is the cycle of working in an ever-changing digital world. It’s my job to stay on top of any current trends and best practices to keep your videos relevant and effective in today’s market.

Since 2005, I’ve edited 99% of all incoming video projects on an editing platform called Final Cut Pro (FCP). For the better part of the last decade, Apple’s FCP has been king of all editing software. It was a better software platform than many of its predecessors at only a fraction of the cost.

Then in July 2011, Apple released Final Cut Pro X. Putting its old version of FCP out of business; they slashed their own price — making FCPX only $299 — so now everyone could become video editors! But here’s the real kicker, rather than make this an improved version of FCP7, they started from scratch!

The new FCPX was so different than its previous version and its competition, that it required learning a brand new style and technique of editing. While some of the changes were good, the overall change in interface meant that valuable time was spent learning a new and unique version of editing instead of actually editing client’s videos.

This risky move on Apple’s part proved to be a great opportunity for Adobe to snatch up many of Apple’s once loyal professional editors.

By Matt Bjur, Video Editor/Producer at Master Communications Group

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Next up: The Premier of Premiere — Making the Switch from Final Cut Pro to Adobe Premiere

Dispatches Archive

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