This article, third in a DV Info Net series exploring Adobe Premiere Pro CS5, has as its focus three elements for consideration by those folks who are considering a move to Premiere Pro from other video editing applications (previously we had published Premiere Pro CS5 Tips, Tricks and Notes, by various DVi contributors, as well as Adobe Premiere Pro CS5 Six Months Later, by Pete Bauer).
First is a brief look at the advantages of Premiere Pro when working with contemporary HD video formats, specifically the tapeless acquisition systems offered by Canon, Sony and Panasonic. That’s followed by some user testimonials culled from our online discussion groups involving some of our DVi community members who have switched or are in the process of transitioning to Premiere Pro from other video editing programs. Then we’ll look at hardware options for configuring a desktop system or a mobile editing laptop using Adobe Premiere Pro CS5.
Quick Links to Individual Sections:
- Working with Canon XF codec MPEG-2 video clips and other Canon video formats
- Working with H.264 video clips from Canon and Nikon D-SLR camera
- Working with MPEG-2 video clips from Sony XDCAM HD & EX camcorders
- Working with AVCHD video clips from Panasonic AVCCAM camcorders
- User Testimonial: From Final Cut Pro to Adobe Premiere Pro
- User Testimonial: From Sony Vegas to Adobe Premiere Pro
- Studio (Desktop) Configurations for Adobe Premiere Pro
- Mobile (Laptop) Configurations for Adobe Premiere Pro
- Adobe Premiere Pro Resources
The material on this page, covering various HD video format workflows, is an abridged overview which has been condensed from a series of Adobe resource guides. A more extensive examination for each type of codec can be found in the original Adobe documents, linked here and at the end of this article in the Resources section. read more...