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Why Premiere is so great for DSLR Vid

First off, I’m a huge Adobe fan, I love the product. It’s fast, intuitive, and plays well with just about everything. Now, the reason I haven’t been doing primary editing much on Premiere is the fact that I’m on Avid beta and as a Media Composer beta tester, I have a responsibility to fulfill my obligations as part of the program. For the record, even with contacts and friends at Adobe, requests to join beta have gone ignored.

Now, Avid’s a better editor than Premiere. Faster in it, better shortcuts and well, it has the power and feature set that any dedicated application will. But I still use Premiere to online most of my work out of Avid…I’m able to send my Avid cut to Resolve, then from Resovle into Premiere where I can do any touch-ups and finishing in AE. And’ I’ll bring in the mixed and mastered audio from Nuendo I sent from Avid. Anyway…on to why especially if you’re a DSLR shooter, you should look at Premiere.

This isn’t from me, it’s from DP Shane Hurlbut. I’ve been a bit turned off lately to his blog because of the rampant riding of the DSLR wave, but he’s a pro and has great things to say about everything and in this case Premiere:

This is why CS5 is so special. Adobe went to Canon and asked them to open up their color space to them so that they could do their best to understand it and to expand it. They worked together to find a cocktail to increase depth, dimension in this limitied 8 BIT compressed color space. The next was to the cameras codec. They designed Premiere Pro specifically to deal with the h.264 codec. How many times has this codec failed in Final Cut Pro?

Click to read the rest.


©2019 by Jay Friesen.

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