The internet (or at least the video editing and creation side of the internet) is in a rush over Adobe’s release of Premiere Rush, their new video creation tool that allows for fast and easy video content creation. It’s an entirely new tool built with content creators in mind in that it’s optimized for speed and simplicity, two of the most important things when you need to get the content you created online fast.
I just used some variation on the word creation five times in that opening paragraph above. Talking about Project Rush on Twitter a few months
There was a tweet the other day asking an interesting question about non-linear editing certification for a graduating high school senior and which NLE certification would be most valuable. There is even a poll being taken.
I recently completed a feature-length documentary edit using Adobe Premiere Pro CC 2018 (12.1.2), and we had zero* crashes during the four week + edit. Was I shocked by this? Not at all. PPro is very stable for me, and I had no fears about stability when I jumped into this edit. It’s not the first longform documentary with a mountain of different formats and frame rates I’ve cut in PPro, and it won’t be the last.
Adobe Premiere Pro
Cinema Grade is a new color grading plug-in for Adobe Premiere Pro, Final Cut Pro X and DaVinci Resolve that utilizes a unique, direct on image, workflow to make your footage look beautiful. The tagline for Cinema Grade is this:
Get cinema-quality results without the pain and frustration of traditional grading tools. Color Grading for the 21st Century.
The big brains at CoreMelt recently released PaintX, another visual effects tool for Final Cut Pro X that uses the mocha tracking engine to make tedious tasks easier. I don’t do a ton of visual effects work so tasks like tracking, painting, roto, general manipulating within the frame is something I reluctantly do but it’s a necessary evil in post-production these days. And it isn’t easy. While many tools have come along to make this easier (here’s looking at you After Effects roto brush) it can still be a tedious task.
How do you review a keyboard? That’s a question I’ve been pondering since I received a Logitech Craft keyboard for testing and review. I was very intrigued when I saw this product introduced a year or so ago (maybe it’s been longer than that, I can’t remember). I’m my never ending quest for the best/fastest input devices for video editing it was that little knob, called the Crown (or Creative Input Dial), that is built into the left side of this keyboard that really intrigued me. Multiple emails back and forth to Logitech went unanswered until one day, one
How often have you been working in Adobe Premiere Pro and you duplicated a sequence into a new version only to forget to load that new copy into the timeline? So you continue editing on your old version only to discover the mistake many cuts later?
If you’ve never done that then you’re a better editor than most of us. I did it often enough that I began using a system where the Copy 03 sequence that PPro creates is the backup and I continue working on the currently loaded sequence.
That little snafu can be a thing of
I’ve written about alternative input devices for editing and post-production many times here on The Editblog. There’s the RollerMouse, the Magic Mouse, Tangent Element and Ripple, X-Keys, CTRL+Console, PROCUTX and some other mice and stuff. They all have some varying degree of usefulness and/or uselessness. That often depends a lot on how the editor works and how much they want to focus their inputting on the keyboard vs. anything else. They keyboard is hard to beat when it comes to speed and simplicity while video editing.
Enter the Sensel Morph. This $299 piece of hardware
Blackmagic Design’s DaVinci Resolve 15 is still in public beta but that hasn’t stopped people from using it. I had to pull AAFs from an Avid project the other day that would be graded in Resolve 15. There is discussion all around Twitter about Resolve 15. And I began my first ever, paid, creative editorial edit in Resolve.
It’s been quite awhile since we visited the long running Useful Tools for Editors column and as I was going through my emails, saves, likes and bookmarked links the other day I realized it was time for another to take us into the long hot summer months (if you’re on this side of the world that is).
I rarely ever make a blog post these days about someone’s Vimeo or YouTube video but scrolling around Twitter today this video from feature film editor Alan E. Bell A.C.E popped up and it’s right up my alley. Alan has edited some of the biggest features out there (The Hunger Games Trilogy, Red Sparrow) as well as indie features too (500 Days of Summer) so he has sat for long, long hours trying to make sense out of a mountain of footage.
When I saw a list of Premiere Pro related people that Adobe was brining to NAB 2018 my first request was for the team behind Mindhunter. While I love the show it was my second scan over the list a few days later that I was even more excited when I saw that team-members from the Oscar nominated film The Florida Project were going to be available for interview. I had just seen the movie about a week before and loved its free flowing indie style, the pace of the film (though my wife did ask at one point if
While I hated missing out on the Avid keynote the Saturday before NAB began, I knew I had another chance to heard Avid’s new CEO Jeff Rosisca speak … when I sat down to interview him on Tuesday of the show. I didn’t think I would get to do this interview as I requested it the week before NAB and I know that’s a busy time for and CEO, the week before the biggest trade show of the year. But a Twitter message to Jeff was returned promptly and the interview was setup.
But before we get to that …
Like the AJA press conference here’s some random thoughts at Blackmagic’s press conference.
Blackmagic’s Grant Petty kicks it off with lots of stuff about mini convertors! Like AJA an important part of the video backbone of the world.
There’s a new switcher that continues Blackmagic’s place in the live production world. Looks like BMD is continuing to take their different technologies and integrate them into different products. Their new switcher panels have Fairlight audio and Teranex now build in. At least that’s how it looks to me as they are going fast, I’m tying and honestly, I don’t understand all Continue reading "Random thoughts from the Blackmagic NAB 2018 press conference"
In the spirit of what Adam Wilt has been doing this NAB here’s random thoughts as I sit in on the AJA press conference.
Aja has been in business for 25 years!
5 new openGear mini-convertors. I’ve don’t know anything about openGear.
As an editor this type of thing is so not something I ever interface with. I wonder how much of AJA’s stuff will be just that.
New KUMO stuff with 12G-SDI support. I don’t know anything about KUMO either. I’m learning a lot this morning. They have lots of connectors, control panels to control them, USB connection for