Adobe Premiere Pro

Tue 21st Aug 2012, by Paul Hellard | Productfocus


20 August 2012


Editing short or long-form professional productions for small houses has been given a boost in Adobe Premiere Pro CS6, the industry-leading cross-platform video editing software that comes with Adobe Encore CS6 and Adobe Media Encoder CS6 software. Redesigned by and for editors, Adobe Premiere Pro CS6 software combines fast performance with a sleek, highly intuitive and customizable user interface. Dynamic timeline trimming, Warp Stabilizer for smoothing uneven footage, Rolling Shutter Repair to correct wobble and skew, the revamped Three-Way Color Corrector effect, expanded multicam support, and a host of other powerful new features and enhancements simplify the editing workflow.

These production units have reported getting even more stunning performance from the Adobe Mercury Playback Engine with new support for OpenCL-based AMD GPUs on certain MacBook Pro computers and NVIDIA Maximus dual GPU configurations. Open projects faster, scrub through HD and higher resolution footage more fluidly, and play back complex long-format and effects-heavy projects more reliably. In addition, the new GPU accelerated uninterrupted playback feature lets you edit, trim, or adjust effects and correct color during playback, all in real time.

Work with multiple streams of content from virtually any source. From the latest mobile phones to 5K RAW footage. This release includes new native support for RED SCARLET-X, RED EPIC, and ARRI Alexa camera footage, as well as video shot with Canon Cinema EOS C300 cameras. There have been many production houses, TV stations and news organisations that have been switching across to Adobe Premiere Pro. We spoke with just two of these outfits finding new solutions.


Richard Harrington - RHEDPixel

Motion Graphics Designer Richard Harrington jumped from Final Cut Pro 7 and had already been looking at Adobe Premiere Pro as a back up plan.

"The big advantage with Adobe's Premiere Pro that brought us across was they were first out of the gate as a 64-bit application," admits Harrington. "The video industry has become increasingly price-challenged. If I can get the job done faster I can make more money. Removing barriers like transcoded workflows where others would balloon files to eight to twelve times their size just so I can work with them, doesn't fly."

"Premiere Pro has really changed a great deal," he adds. "Adobe is clearly a hungry company that is listening to criticism and requests, and responding quickly. The Adobe Premiere Pro team participates in Facebook groups, not just logging the comments but listening to them and taking action.”

"Video has the greatest demands for real-time processing and real-time workflow and that can be tough. Then bringing in RAW formats and 10 and 12-bit codecs, greater color depth and time effects acceleration, Adobe has really been at the forefront of that move. Looking at how great Photoshop and After Effects have been for years and watching how smoothly Premiere Pro works with them, it really becomes clear at this point that Adobe is the last suite standing,” he adds. “That's not to say that when you look around there aren't other choices, because there are. But Adobe has been at the forefront of development and support for this very tight market.”

RHED Pixel produces a lot of training material, mainly featuring themselves, but also for larger clients like Pearson,, and some talk show style material as well. “For these kinds of jobs, the real standout is Premiere Pro, with the Adobe Media Encoder. In all cases, it just edits quick, looks great with a beautiful UI,” says Harrington. “All kinds of workflow shortcuts are accelerating our pace and making us look even better. The more efficient we are, the more money we make. That’s the bottom line. You choose the tools, they make the work more enjoyable and they make you more profitable. If they can do both, then that’s a good thing.”

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Andrew Knight runs an independent film production company in Melbourne Australia called Fragile Films. They have produced two feature films, as well as working on several other short form productions and some corporate work to keep the cash-flow going. As a two person production house, Fragile is pretty small, but they employ subcontractors in as the productions come along, including compositing, VFX as well as camera operation.

The Stolen, the major production, co-produced with Avalon Films, was shot on the RED One camera in 2008. “At the time, the only workflow was with Final Cut Pro,” explains Knight. “And it wasn’t really giving the sort of performance we would have expected out of the eight-core Mac Pro we had provided for it. Then Adobe Premiere Pro came out with its ‘RED’ plugin. We were doing two blocks of preliminary post for the movie we were on and I thought I’d give Adobe Premiere Pro a try. It didn’t take much to decide to switch across to Premiere as soon as we could and have been there with Adobe ever since.”

Switching from one editing base to another, in the middle of a feature movie production, was daunting but a very successful decision. The ‘drastic’ speed increases based just on software change, and not changing the hardware, was a catalyst for Knight. Fragile Films now uses Adobe Premiere Pro for all their long form productions, and staying with Adobe from data capture thru to release. Adobe Premiere Pro, Photoshop and After Effects in Adobe CS6 are highly optimized to work well together. “The more optimized, the more real-time capabilities you get,” says Knight. “When you’re doing multi-camera edits with H264 files off a RED, real-time performance is our biggest selling point.”
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