![]() Adobe saw the writing on the wall, and with each incremental update and major version release, Premiere Pro rapidly supported more and newer tapeless acquisition formats and technologies. ![]() When native, tapeless format support first came to Premiere Pro during the CS3 cycle, the options were limited, but the technology was just beginning to spread, as well. In effect, Premiere Pro answers the question, “What happens when an NLE just gets out of the editor’s way?” Choices, choices, choices Native format support is all about giving you immediate access to the footage as the camera recorded it, removing the impediments to an efficient post-production workflow and letting you focus on creative editing. No excuses, no reasons to turn down work, no more coffee breaks – c’mon, we can’t have everything. No need to purchase and install third-party codecs. There’s no platform-specific rewrapping of camera files. Right out of the box, Premiere Pro is ready to edit virtually any tapeless format available today, immediately and without limitations. In 2007 with the release of Premiere Pro CS3, Adobe introduced and has since refined and expanded what has become the cornerstone of the software and is arguably its strongest feature: native format support for tapeless, file-based post-production workflows. In this article, I will review both the general theory of the tapeless native file format workflow, and also give specific instructions (including video demonstrations) on how to get up and running quickly.ĭisclaimer: Yes, I am an unabashed fan of this workflow, and can’t help sounding like a kid in a candy store about some of it – but read on and you’ll soon understand why. If you tried and dismissed Premiere sometime in the past before the software received a ground-up rewrite and gained the “Pro” suffix, it’s time for a second look. ![]() Adobe Premiere Pro CS5.5, which is available standalone or as the anchor application of the Adobe Creative Suite 5.5 Production Premium bundle for both PC and Mac, is the company’s latest gambit in the evolution of non-linear editing and post-production. We all wear a few extra hats these days, but there are times when you just want to do what you do without a lot of additional work.Īdobe Systems has heard the cries of editors everywhere, and kicked open the door on a completely different way of working with tapeless, file-based media. ![]() The major shift has come in the form of tapeless, file-based acquisition that uses equipment that has its roots in the information technology industry.Īs video post-production has scrambled to keep up, editors have been left with little choice than to become ersatz compression specialists and computer technologists. In the past few years, a barrage of new video acquisition formats and recording methodologies have sprouted like mushrooms after the rain. ![]()
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