» Posts Tagged ‘adobe’
An Hour of Free Video Training on DSLR Post-Production in Adobe's Creative Suite
You’d think with my fundraising campaign going down to the wire that I’d be too busy to find and post helpful content here on NoFilmSchool. But no! I want to help you and I hope you’ll help me in return! Here’s a five-part tutorial from Richard Harrington on a DSLR-based workflow in Adobe Creative Suite. This is not super advanced, nor is it riveting stuff, but hey — it’s a screencast. And if you’re new to the Adobe’s Creative Suite or if you’re switching from another NLE — perhaps because CS5.5 is still 50% off for Final Cut Pro or Avid editors? — this is a nice “getting started” overview of working with DSLR footage in Premiere Pro, After Effects, Photoshop, and Audition: More »
Adobe's Mac Video Apps Up 45 Percent Thanks to Final Cut Pro X; Buys IRIDAS SpeedGrade
Since Apple introduced the much-maligned Final Cut Pro X, Adobe’s Mac Video apps have reportedly enjoyed a 45% boost in sales. This is in all likelihood partially thanks to Adobe’s offer of 50% off for Final Cut Pro users (Avid editors are also eligible). Perhaps as a result of this newfound confidence, Adobe has also purchased IRIDAS, a company known best for their high-end SpeedGrade color grading software. More »
In-the-cloud screenwriting app Adobe Story is free until April 12th, 2012. I got a chance to use it recently (instead of my normal app — and industry standard — Final Draft) because I was in search of a two-column, A/V writing layout and I find Celtx’s A/V mode disappointing. In the process I found out Story now has an iPhone app that’s also free. Unlike the mobile version of Celtx, Story doesn’t let you edit the screenplay through iOS, but it does let you read scripts, add comments, read notes from others, and sync everything to the cloud. Adobe’s making a play to offer a complete script-to-screen solution, and Story is a central piece. Here’s the desktop version in action: More »
Robbie Carman, co-author of the just-published An Editor’s Guide to Adobe Premiere Pro, presents a tutorial perfect for those editors switching from Final Cut Pro to Premiere Pro. While I like a lot of things about Final Cut Pro X (more on that soon), the inability to open old project files is indefensible. The easiest transition path is actually to switch to Premiere Pro (50% off if you own FCP), choose FCP‘s keyboard shortcuts within Premiere, and open your FCP 7 project files in Adobe’s NLE thanks to XML interchange. Here’s how to do it: More »
Video tutorial site video2brain has published a free tutorial on optimizing your PC/Mac system for running After Effects and Premiere Pro CS5.5 (currently 50% off as part of Production Premium). Click on the image for the full 14-part video tutorial: More »
Just a couple of years ago the statement, “step up to the toolset the pros use, Adobe Premiere” would be taken as a joke by any professional editor. Yet there it is on Adobe’s site, thanks to numerous updates over the years. And with the release of Final Cut Pro X, suddenly the easiest NLE to transition to from Final Cut Pro 7 is not FCPX but rather Premiere Pro. Recognizing this with what one can only assume are ear-to-ear grins, the folks at Adobe are offering 50% off Adobe CS5.5 Production Premium or Premiere Pro if you own Apple Final Cut Pro (or Avid Media Composer). Here are the details (and an instructional video for doing so): More »
Let’s review: Adobe Premiere Pro reaches feature parity with Final Cut Pro, exceeding it in some aspects, and in the process builds up an equal-sized customer base as Apple’s NLE. Then Apple relaunches FCP from the ground up — and removes a lot of the features shared between the two, making Premiere Pro undeniably more feature-rich. It seems perfect timing for Adobe, whose application is now easier to migrate to from Final Cut Pro 7 than is Apple’s. I’m still learning FCP X and I think it has a ton of potential, but at the very least, Adobe has to be happy with the missing features in FCP X that everyone’s complaining about. So let’s take a look at one feature both video solutions are touting highly: automatic camera stabilization. More »
If this were a political news outlet I’d be obliged to give both parties in the Adobe-Apple 2012 “election” equal time, and so after the news that Apple will release Final Cut Pro X next week, let’s follow it up with a look at Adobe’s professional video plans. Here’s Adobe’s Jim Guerard, vice president and general manager of Professional Video, contextualizing and explaining Adobe’s vision for the future: More »
I had no idea when watching David Fincher’s generation-defining (yeah, I said it) The Social Network that the RED-shot film would utilize a post-production process similar to what you or I could execute. It turns out that the crew on the award-winning film conformed all shots — and did some basic visual effects work — using Adobe After Effects, after utilizing Premiere Pro to get their Final Cut Pro timeline into AE. Yes, they also used higher-end tools — notably Quantel’s Pablo for the color grade — but the basic editing tools are the same as you or I might use on a no-budget project. Here’s Fincher and assistant editor Tyler Nelson on the process: More »
The previously announced upgrade to Adobe’s Creative Suite, version CS5.5, is now shipping. From individual titles all the way up to the $2,599 behemoth known as the Master Collection, the new programs are available as instant downloads (well, depending on the speed of your connection). Direct links: Adobe Master Collection CS5.5, Adobe Production Premium CS5.5, Adobe Premiere Pro CS5.5, Adobe After Effects CS5.5, Adobe Audition CS5.5.
With all the hubbub about the new Final Cut Pro X, it’s easy to forget Adobe announced new versions of their video applications only the day before Apple’s sneak peak event. CS5.5 has a lot of significant new features, and Adobe was demoing the video-centric Production Premium suite all week at their NAB booth. Here’s what they were showing: More »
Some have pointed out that many of Final Cut Pro X‘s much-lauded new features are not really that “new.” This backlash seems to happen with every Apple product, perhaps out of response to the rapturous reception with which Apple fanboys greet the superlative-laced presentations. In the case of FCP X, the criticism is that FCP X’s list of new features (seen on video) have been around for a while in other editing applications (notably Premiere and Vegas). But a list of features does not an editing program make. It’s not what features you include in a piece of software, it’s how you design them. Read on for some thoughts on intuitive design and a few full resolution screenshots of the new Final Cut Pro X. More »
Apple hasn’t posted any official acknowledgement of last night’s demonstrations of Final Cut Pro X on their website, and so everyone on the internet is speculating based on lists of features rather than seeing the presentation. Until Apple gets official with any such announcement, then, the next best thing to an official video is an unofficial (kind of shaky) video of the presentation. In my liveblog of the event I noted, “editors are crazy,” and you’ll see that to be the case based on the overenthusiastic reactions here: More »
Adobe today announced Creative Suite 5.5, a mid-cycle upgrade to CS5 that introduces significant new features to the video programs, adds mobile-based publishing and program extensions, and offers a new subscription payment model that eliminates the sticker shock of purchasing the full suite. More »
Adobe has just previewed “Warp Stabilizer,” a new After Effects-bundled tool that fixes camera shake and rolling shutter artifacting with a simple drag-and-drop operation. Or so they claim; their technology sneak peek certainly makes it look like magic. While there are plenty of camera stabilization plugins on the market, this one fixes camera shake across all axes and will presumably ship with the next version of After Effects (instead of requiring a separate purchase, like many stabilization plugins). One thing I had in mind as I watched this demo: 4K. More »
In the ongoing battle between Adobe and Apple, Flash has arguably been the central point of contention. You know the story — Apple banned Flash from all iOS devices, Adobe promised to build a converter app, Apple banned that, Adobe abandoned the porting as a result, Apple recanted, and now… Adobe has finally released a beta version of their converter, codenamed Wallaby. Why do I cover such stories on a filmmaking blog? Because I think Flash and HTML5 aren’t limited to transmedia stories, but are increasingly relevant to filmmakers who might want to distribute their film in non-traditional means. More »
With yesterday’s announcement of the iMovie-touting iPad 2, it’s worth thinking about what impact the iPad has had to date for filmakers. According to Steve Jobs, the iPad 1 sold more units than every Tablet PC ever made — in just 9 months. With 15 million iPads currently in circulation and over $2 billion paid out to developers through the App Store, one of the primary ways the iPad has affected independent creatives is simply by being a distribution platform. But when Apple announced the “magical, revolutionary” device a year ago I wrote a piece at FreshDV speculating as to how the iPad could affect filmmakers. Here’s the post revisited: in the year since, how much of this has come to pass? What did I get right and what did I get (horribly, horribly) wrong? More »
DP Shane Hurlbut is a treasure trove of useful information about HDSLRs, as few Hollywood DPs have embraced the DSLR revolution with as much fervor (or online presence) as Shane. He will be presenting a free webinar on Tuesday, Dec. 14, at 12 p.m. EST (9 a.m. PST) — yes, it’s short notice, but the workshop may be archived; if it is, I will update this post with the link to the video is here. Here’s Shane talking about his work with The Bandito Brothers on Act of Valor: More »
Since switching to Premiere Pro, my editing workflow has been to lock picture in Premiere and then finish in After Effects. To date I’ve been using a workflow similar to the one I’d use when editing in Final Cut Pro, which was to import a final sequence into After Effects (either as an XML or by using Premiere Pro as an intermediary), and apply color correction, titling, and other effects in AE. While this approach gives a very high quality output, a problem rears its head if you want to make changes to the edit after “locking” picture. So what’s the best workflow between Premiere and After Effects? More »
Thanks to Adobe Premiere Pro CS5′s ability to edit DSLR and other h.264 footage without the need to transcode, editors have been switching in droves away from Final Cut Pro. In my How to Build a Hackintosh article, I include a section specifically for video editors switching from FCP to Premiere, including how to do so without having to learn any new keystrokes. But for anyone with lingering questions as to why an enterprising editor might switch, Adobe is presenting four free online workshops: More »
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