The Genesis Project by Dennis Radeke
For the last several years I have spent a fair amount of my time working with a large number of broadcasters, media & entertainment companies, large post production houses, networks and even a film maker or two. While there is a ton of information out there about Premiere Pro CC for users of all types, I wanted to write about how the latest version of Premiere Pro is ideal for broadcasters and other media houses. Whether you’re an executive, management or a creative within a media organization, this post is my own take on how the workflows and features of Premiere Pro CC make creating and publishing media easier than ever before.
The biggest challenge is where to begin? Perhaps with some of the fundamentals of Premiere Pro and how it’s a bit different from the competition. If this is old news for you skip on down a bit and you’ll
- True interchange, truly cross platform: Adobe really is about not making the Operating System or the hardware platform part of your decision making process. If you like PC’s, rock on. If you’re a Mac zealot – that is cool too. PCs and Macs can work together and share projects back and forth and as for open, our FCP XML has long been recognized as pretty robust and this go around our AAF has improved greatly.
- No transcoding/rewrapping or “Adobe won’t touch your pixels”: This has always been a big one for me. Both Avid and FCP 7 (legacy) have traditionally ‘encouraged’ you to convert your source footage to either DNxHD or ProRes in order to work. That’s not a bad thing per se, it’s just a choice. If you want that choice within Adobe, that’s not a problem. However, rendering/converting/transcoding (you pick whatever word you like) always costs you time. Adobe would rather have you working with your footage as quickly as possible. Premiere Pro has a ‘resolution independent playback engine.’ Essentially, this means you can throw anything on the timeline and expect it to play within reason. read more...