Adobe’s Frame Rollout

Adobe acquired Frame.io last October. The latest Adobe Creative Cloud application updates showcase the first formal integration of Frame.io as a product within the Creative Cloud ecosystem. Frame.io had already developed a Premiere Pro integration using Adobe’s extensions architecture; however, the latest version of Premiere Pro and After Effects adds an integrated interface panel called Review with Frame.io.

Now your individual Adobe Creative Cloud subscription includes a Frame.io account at no additional charge. This includes 100GB of cloud storage (separate from existing Creative Cloud storage) for up to five projects, use by two collaborators, and unlimited access for reviewers. If you need more storage or to add more collaborators, then you can upgrade to a larger Frame.io plan, but at additional cost.

Adobe Creative Cloud Team and Enterprise accounts don’t fall under this plan and those admins will need to consult Adobe or Frame.io for a plan that best meets their needs. In other words, if you are a production company paying for an Adobe Team account with multiple users on the account, you don’t get 100GB of “free” Frame.io storage for each user. This offering is primarily designed for individual Adobe Creative Cloud subscribers.

Something to know before you start

There’s a gotcha for some existing Frame.io customers. You activate your new Adobe CC Frame.io service by logging in with the same e-mail and password as used for your Adobe ID. Let’s say you work freelance at a facility and are a collaborator on their Frame.io Team account. In that case, you might be using a personal email address to log into Frame.io. However, if that email is the same as used for your personal Adobe ID, then Frame.io does not know how to differentiate between the two.

To rectify this you need to use a different email for one of these two log-ins. This is generally a minor issue, since most people have more than one email address that they use. In my own case, I needed to change my Adobe ID email, which was a relatively quick procedure. This allows me to separately access either of the two Frame.io accounts as a collaborator, based on which email I log in with.

One confusing thing I encountered was that the account starts as a 30-day trial for a Frame.io Team account, so it looks like you are going to get billed extra after the trial ends. This is not the case. I think it’s a mistake for Adobe and Frame.io to do this, because they are trying to upsell you to the paid account. Fortunately there’s no need to enter payment information up front. I wish that this was clearer in the marketing details. Hopefully Adobe will correct this after the initial rollout. At the end of the 30-trial, you will be asked whether to pay or end the trial. If you opt to end the trial, then the account reverts to the free plan, which is the one included with your Adobe Creative Cloud subscription.

Getting started

Open the Review with Frame.io panel in Premiere Pro or After Effects and sign-in using your Adobe ID. This will open your default browser and send you to the Frame.io website to complete the sign-in. As long as you stay signed in, you can access Frame.io either in your web browser or within the panel. If you sign out, then next time you’ll need to sign in again using the Adobe ID.

I won’t go into how Frame.io itself works, since there are plenty of tutorials. This integration doesn’t change any of the operation. The Frame.io panel works like the previous extensions panel. A clip with reviewer comments can be synced to your Premiere Pro timeline for easy changes. Or you can simply work from the web portal and ignore the panel entirely. 100GB is plenty if your intent is to use Frame.io for low-resolution review files. However, if your intention is a larger, more complex workflow, then you may need to upgrade your Frame.io account after all.

Enter C2C

The bigger picture is that Frame.io is enthusiastically pushing its camera-to-cloud (C2C) workflow. I’m not really a big believer in this concept, but I know plenty of companies are going to announce more cloud and remote services at NAB. For many reasons, I don’t believe that all of our media will be in the cloud in a decade or two. However, I think Adobe does. In my opinion, it’s not a particularly good goal for users or the planet. But, I digress. In today’s world, what C2C offers in conjunction with the Premiere Pro integration is a Dropbox-style experience.

Let’s say your videographer is recording a corporate CEO interview in Los Angeles. The company’s PR rep is in New York and the editor in Atlanta. And there’s a very short turnaround schedule. In this basic scenario, both the videographer and editor are collaborators on a Frame.io project. While the interview is being recorded, the feed is being uploaded to Frame.io in near real-time. This requires some hardware on the camera side or it could be done by someone on set right after the recording ends. Once it’s in Frame.io, the PR rep in NYC can access and review the takes. The editor in Atlanta also sees the footage appear in the Frame.io panel within Premiere Pro. Files can be downloaded from the panel to the editor’s drives and the edit can start right away.

Given most standard internet speeds today and the 100GB bucket, this workflow makes sense if you are uploading smaller camera proxy files. Some proxies can actually be good enough to master with – especially in fast turnaround situations. In other scenarios, the proxies might be used to start the edit and later replaced with the high-res camera originals, once received from the shoot.

I feel that such situations are a lot fewer than the marketers want you to believe. Moving high-res files over the internet is never fast. FedEx often still offers the better option. So unless you really do need to get started right away, just wait for the media to arrive a day or so later. However, C2C for the purpose of an out-of-town producer reviewing takes remotely – especially in light of workflow changes caused by COVID over the past couple of years – has gained steam.

Frame.io is clear that just because they are an Adobe company doesn’t change their dedication to other workflows and other applications, such as Final Cut Pro. New announcements include native FilmLight Baselight integration, an app for Apple TV, and C2C partnerships with FiLMiC Pro.

If you are a current Frame.io customer without any Adobe subscription – no problem. Nothing changes for you. I’ve been using Frame.io since it launched and have been happy with the service. There are occasional glitches, but no worse than any other internet service, including your regular e-mail provider. Better yet, clients love the process. It’s not perfect, but it is one of the better review-and-approval sites and services on the market. If this is the first time you start using Frame.io by virtue of your Adobe subscription, then you are bound to see your daily workflow enhanced.

©2022 Oliver Peters

Five Adobe Workflow Tips

Subscribers to Adobe Creative Cloud have a whole suite of creative tools at their fingertips. I believe most users often overlook some of the less promoted features. Here are five quick tips for your workflow. (Click on images to see an enlarged view.)

Camera Raw. Photographers know that the Adobe Camera Raw module is used to process camera raw images, such as .cr2 files. It’s a “develop” module that opens first when you import a camera raw file into Photoshop. It’s also used in Bridge and Lightroom. Many people use Photoshop for photo enhancement – working with the various filters and adjustment layer tools available. What may be overlooked is that you can use the Camera Raw Filter in Photoshop on any photo, even if the file is not raw, such as a JPEG or TIFF.

Select the layer containing the image and choose the Camera Raw Filter. This opens that image into this separate “develop” module. There you have all the photo and color enhancement tools in a single, comprehensive toolkit – the same as in Lightroom. Once you’re done and close the Camera Raw Filter, those adjustments are now “baked” into the image on that layer.

Remix. Audition is a powerful digital audio workstation application that many use in conjunction with Premiere Pro or separately for audio productions. One feature it has over Premiere Pro is the ability to use AI to automatically edit the length of music tracks. Let’s say you have a music track that’s 2:47 in length, but you want a :60 version to underscore a TV commercial. Yes, you could manually edit it, but Audition Remix turns this into an “automagic” task. This is especially useful for projects where you don’t need to have certain parts of the song time to specific visuals.

Open Audition, create a multitrack session, and place the music selection on any track in the timeline. Right-click the selection and enable Remix. Within the Remix dialogue box, set the target duration and parameters – for example, short versus long edits. Audition will calculate the number and location of edit points to seamlessly shorten the track to the approximate desired length.

Audition attempts to create edits at points that are musically logical. You won’t necessarily get an exact duration, since the value you entered is only a target. This is even more true with tracks that have a long musical fade-out. A little experimentation may be needed. For example, a target value of :59 will often yield significantly different results than a target of 1:02, thanks to the recalculation. Audition’s remix isn’t perfect, but will get you close enough that only minimal additional work is required. Once you are happy, bounce out the edited track for the shortened version to bring into Premiere Pro.

Photoshop Batch Processing. If you want to add interesting stylistic looks to a clip, then effects filters in Premiere Pro and/or After Effects usually fit the bill. Or you can go with expensive third party options like Continuum Complete or Sapphire from Boris FX. However, don’t forget Photoshop, which includes many stylized looks not offered in either of Adobe’s video applications, such as specific paint and brush filters. But, how do you apply those to a video clip?

The first step is to turn your clip into an image sequence using Adobe Media Encoder. Then open a representative frame in Photoshop to define the look. Create a Photoshop action using the filters and settings you desire. Save the action, but not the image. Then create a batch function to apply that stored action to the clean frames within the image sequence folder. The batch operation will automatically open each image, apply the effects, and save the stylized results to a new destination folder.

Open that new image sequence using any app that supports image sequences (including QuickTime) and save it as a ProRes (or other) movie file. Stylized effects, like oil paint, are applied to individual frames and will vary with the texture and lighting of each frame; therefore, the stitched movie will display an animated appearance to that effect.

After Effects for broadcast deliverables. After Effects is the proverbial Swiss Army knife for editors and designers. It’s my preferred conversion tool when I have 24p masters that need to be delivered as 60i broadcast files.

Import a 23.98 master and place it into a new composition. Scale, if needed (UHD to HD, for instance). Send to the Render Queue. Set the frame rate to 29.97, field render to Upper (for HD), and enable pulldown (any whole/split frame cadence is usually OK). Turn off Motion Blur and Frame Blending. Render for a proper interlaced broadcast deliverable file.

Photoshop motion graphics. One oft-ignored (or forgotten) feature of Photoshop is that you can do layer-based video animation and editing within. Essentially there’s a very rudimentary version of After Effects inside Photoshop. While you probably wouldn’t want to use it for video instead of using After Effects or Premiere Pro, Photoshop does have a value in creating animated lower thirds and other titles.

Photoshop provides much better text and graphic style options than Premiere Pro. The files are more lightweight than an After Effects comp on your Premiere timeline – or rendering animated ProRes 4444 movies. Since it’s still a Photoshop file (albeit a special version), the “edit in original” command opens the file in Photoshop for easy revisions. Let’s say you are working on a show that has 100 lower thirds that slide in and fade out. These can easily be prepped for the editor by the graphics department in Photoshop – no After Effects skills required.

Create a new file in Photoshop, turn on the timeline window, and add a new blank video layer. Add a still onto a layer for positioning reference, delete the video layer, and extend the layers and timeline to the desired length. Now build your text and graphic layers. Keyframe changes to opacity, position, and other settings for animation. Delete the reference image and save the file. This is now a keyable Photoshop file with embedded animation properties.

Import the Photoshop file into Premiere with Merged Layers. Add to your timeline. The style in Premiere should match the look created in Photoshop. It will animate based on the keyframe settings created in Photoshop.

©2021 Oliver Peters

Dialogue Mixing Tips

 

Video is a visual medium, but the audio side of a project is as important – often more important – than the picture side. When story context is based on dialogue, then the story will make no sense if you can’t hear or understand that spoken information. In theatrical mixes, it’s common for a three person team of rerecording mixers to operate the console for the final mix. Their responsibilities are divided into dialogue, sound effects, and music. The dialogue mixer is usually the team lead, precisely because intelligible dialogue is paramount to a successful motion picture mix. For this reason, dialogue is also mixed as primarily mono coming from the center speaker in a 5.1 surround set-up.

A lot of my work includes documentary-style entertainment and corporate projects, which frequently lean on recorded interviews to tell the story. In many cases, sending the mix outside isn’t in the budget, which means that mix falls to me. You can mix in a DAW or in your NLE. Many video editors are intimidated by or unfamiliar with ProTools or Logic Pro X – or even the Fairlight page in DaVinci Resolve. Rest assured that every modern NLE is capable of turning out an excellent stereo mix for the purposes of TV, web, or mobile viewing. Given the right monitoring and acoustic environment, you can also turn out solid LCR or 5.1 surround mixes, adequate for TV viewing.

I have covered audio and mix tips in the past, especially when dealing with Premiere. The following are a few more pointers.

Original location recording

You typically have no control over the original sound recording. On many projects, the production team will have recorded double-system sound controlled by a separate location mixer (recordist). They generally use two microphones on the subject – a lav and an overhead shotgun/boom mic.

The lav will often be tucked under clothing to filter out ambient noise from the surrounding environment and to hide it from the camera. This will sound closer, but may also sound a bit muffled. There may also be occasional clothes rustle from the clothing rubbing against the mic as the speaker moves around. For these reasons I will generally select the shotgun as the microphone track to use. The speaker’s voice will sound better and the recording will tend to “breathe.” The downside is that you’ll also pick up more ambient noise, such as HVAC fans running in the background. Under the best of circumstances these will be present during quiet moments, but not too noticeable when the speaker is actually talking.

Processing

The first stage of any dialogue processing chain or workflow is noise reduction and gain correction. At the start of the project you have the opportunity to clean up any raw voice tracks. This is ideal, because it saves you from having to do that step later. In the double-system sound example, you have the ability to work with the isolated .wav file before syncing it within a multicam group or as a synchronized clip.

Most NLEs feature some audio noise reduction tools and you can certainly augment these with third party filters and standalone apps, like those from iZotope. However, this is generally a process I will handle in Adobe Audition, which can process single tracks, as well as multitrack sessions. Audition starts with a short noise print (select a short quiet section in the track) used as a reference for the sounds to be suppressed. Apply the processing and adjust settings if the dialogue starts sounding like the speaker is underwater. Leaving some background noise is preferable to over-processing the track.

Once the noise reduction is where you like it, apply gain correction. Audition features an automatic loudness match feature or you can manually adjust levels. The key is to get the overall track as loud as you can without clipping the loudest sections and without creating a compressed sound. You may wish to experiment with the order of these processes. For example, you may get better results adjusting gain first and then applying the noise reduction afterwards.

After both of these steps have been completed, bounce out (export) the track to create a new, processed copy of the original. Bring that into your NLE and combine it with the picture. From here on, anytime you cut to that clip, you will be using the synced, processed audio.

If you can’t go through such a pre-processing step in Audition or another DAW, then the noise reduction and correction must be handled within your NLE. Each of the top NLEs includes built-in noise reduction tools, but there are plenty of plug-in offerings from Waves, iZotope, Accusonus, and Crumplepop to name a few. In my opinion, such processing should be applied on the track (or audio role in FCPX) and not on the clip itself. However, raising or lowering the gain/volume of clips should be performed on the clip or in the clip mixer (Premiere Pro) first.

Track/audio role organization

Proper organization is key to an efficient mix. When a speaker is recorded multiple times or at different locations, then the quality or tone of those recordings will vary. Each situation may need to be adjusted differently in the final mix. You may also have several speakers interviewed at the same time in the same location. In that case, the same adjustments should work for all. Or maybe you only need to separate male from female speakers, based on voice characteristics.

In a track-based NLE like Media Composer, Resolve, Premiere Pro, or others, simply place each speaker onto a separate track so that effects processing can be specific for that speaker for the length of the program. In some cases, you will be able to group all of the speaker clips onto one or a few tracks. The point is to arrange VO, sync dialogue, sound effects, and music together as groups of tracks. Don’t intermingle voice, effects, or music clips onto the same tracks.

Once you have organized your clips in this manner, then you are ready for the final mix. Unfortunately this organization requires some extra steps in Final Cut Pro X, because it has no tracks. Audio clips in FCPX must be assigned specific audio roles, based on audio types, speaker names, or any other criteria. Such assignments should be applied immediately upon importing a clip. With proper audio role designations, the process can work quite smoothly. Without it, you are in a world of hurt.

Since FCPX has no traditional track mixer, the closest equivalent is to apply effects to audio lanes based on the assigned audio roles. For example, all clips designated as dialogue will have their audio grouped together into the dialogue lane. Your sequence (or just the audio) must first be compounded before you are able to apply effects to entire audio lanes. This effectively applies these same effects to all clips of a given audio role assignment. So think of audio lanes as the FCPX equivalent to audio tracks in Premiere, Media Composer, or Resolve.

The vocal chain

The objective is to get your dialogue tracks to sound consistent and stand out in the mix. To do this, I typically use a standard set of filter effects. Noise reduction processing is applied either through preprocessing (described above) or as the first plug-in filter applied to the track. After that, I will typically apply a de-esser and a plosive remover. The first reduces the sibilance of the spoken letter “s” and the latter reduces mic pops from the spoken letter “p.” As with all plug-ins, don’t get heavy-handed with the effect, because you want to maintain a natural sound.

You will want the audio – especially interviews – to have a consistent level throughout. This can be done manually by adjusting clip gain, either clip by clip, or by rubber banding volume levels within clips. You can also apply a track effect, like an automatic volume filter (Waves, Accusonus, Crumplepop, other). In some cases a compressor can do the trick. I like the various built-in plug-ins offered within Premiere and FCPX, but there are a ton of third-party options. I may also apply two compression effects – one to lightly level the volume changes, and the second to compress/limit the loudest peaks. Again, the key is to apply light adjustments, because I will also compress/limit the master output in addition to these track effects.

The last step is equalization. A parametric EQ is usually the best choice. The objective is to assure vocal clarity by accentuating certain frequencies. This will vary based on the sound quality of each speaker’s voice. This is why you often separate speakers onto their own tracks according to location, voice characteristics, and so on. In actual practice, only two to three tracks are usually needed for dialogue. For example, interviews may be consistent, but the voice-over recordings require a different touch.

Don’t get locked into the specific order of these effects. What I have presented in this post isn’t necessarily gospel for the hierarchical order in which to use them. For example, EQ and level adjusting filters might sound best when placed at different positions in this stack. A certain order might be better for one show, whereas a different order may be best the next time. Experiment and listen to get the best results!

©2020 Oliver Peters

Video Technology 2020 – Editing Software

Four editing applications dominate the professional market: Adobe Premiere Pro, Apple Final Cut Pro X, Avid Media Composer, and Blackmagic Design DaVinci Resolve. Established facilities are still heavy Avid users, with Adobe being the up-and-coming choice. This doesn’t mean that Final Cut Pro X lost out. Going into 2020, Apple can tout FCPX as the best-selling version of its professional editing tool. It most likely has three million users after nearly nine years on the market. While pro editors in the US are often reluctant to adopt FCPX, this innovative application has earned wider acceptance in the broader international market.

The three “A”s have been battling for editing market share, but the wild card is Blackmagic Design’s DaVinci Resolve. It started as a high-end color correction application, but through Blackmagic’s acquisitions and fast development pace, Resolve is becoming an all-in-one application rivaling Autodesk Smoke or Avid DS. Recent versions bring enhanced creative editing tools, making it possible to edit, mix, composite, grade, and deliver entirely from Resolve. No need to roundtrip with other applications. Blackmagic is so dedicated to Resolve as an editor that they introduced a special editor keyboard.

Is Resolve attractive enough to sway editors to shift away from other tools? The answer for most in 2020 will still be “no.” Experienced editors have made their choice and all of the current options are quite good. However, Resolve does make the most sense for new users with no prior allegiances. The caveat is advanced finishing. Users may edit in an editing application, but then roundtrip to Resolve and back for grading. Unfortunately these roundtrips can be problematic. So I do think that many will opt to cut creatively in their NLE of choice, but then send to Resolve for the final grade, mix, and VFX work. Expect to see Resolve’s finishing footprint expand in 2020.

Two challenges confront these companies in 2020: multi-user collaboration and high dynamic range (HDR) delivery. Collaboration is an Avid strength, but not so for the other three. Blackmagic and Adobe have an approach to project sharing, but still not what Avid users have come to expect. Apple offers nothing directly, but there are some third-party workarounds. Expect 2020 to yield collaboration improvements for Final Cut Pro X and Premiere Pro.

HDR is a more complex situation requiring specialized hardware for proper monitoring. There simply is no way to accurately view HDR on any computer display. All of these companies are developing software pipelines to deal with HDR, but in 2020, HDR delivery will still require specific hardware that will remain the domain of dedicated color correction facilities.

Finally, as with cameras, AI will become an increasing aspect of post hardware. You already see that in Apple’s shape recognition within FCPX (automatic sorting of wides and close-ups) or Adobe Sensei for content replacement and automatic music editing. Expect to see more of these features introduced in coming software versions.

Originally written for Creative Planet Network.

©2020 Oliver Peters

Why editors prefer Adobe Premiere Pro CC

Over my career I’ve cut client jobs with well over a dozen different linear and nonlinear editing systems and/or brands. I’ve been involved with Adobe Premiere/Premiere Pro as a user on and off since Premiere 5.5 (yes kids – before, Pro, CS, and CC). But I seriously jumped into regular use at the start of the Creative Cloud era, thanks to many of my clients’ shift away from Final Cut Pro. Some seriously gave FCPX a go, yet could never warm up to it. Others bailed right away. In any case, the market I work in and the nature of my clients dictate a fluency in Premiere Pro. While I routinely bounce between Final Cut Pro X, Media Composer, DaVinci Resolve, and Premiere Pro, the latter is my main axe at the day job.

Before I proceed, let me stop and acknowledge those readers who are now screaming, “But Premiere always crashes!” I certainly don’t want to belittle anyone’s bad experiences with an app; however in my experience, Premiere Pro has been just as stable as the others. All software crashes on occasion and usually at the most inopportune time. Nevertheless, I currently manage about a dozen Mac workstations between home and work, which are exposed to our regular pool of freelance editors. Over the course of the past three to four years, Premiere Pro (as well as the other Creative Cloud applications) has performed solidly for us across a wide range of commercial, corporate, and entertainment projects. Realistically, if our experiences were as bad as many others proclaim, we would certainly have shifted to some other editing software!

Stability questions aside, why do so many professional editors prefer Adobe Premiere Pro given the choices available? The Final Cut Pro X fans will point to Premiere’s similarities with Final Cut Pro 7, thus providing a comfort zone. The less benevolent FCPX fanboys like to think these editors are set in their ways and resistant to change. Yet many Premiere Pro users have gone through several software or system changes in their careers and are no strangers to a learning curve. Some have even worked with Final Cut Pro X, but find Premiere Pro to be a better fit. Whatever the reason, the following is a short list (in no order of importance) of why Premiere Pro becomes such a good option for many editors, given the available alternatives.

Responsive interface – I find the Premiere Pro user interface to be the most responsive application of any of the NLEs. I’m not talking about media handling, but rather the time between clicking on something or commanding a function and having that action occur. For example, in my Final Cut Pro X experience – which is an otherwise fast application – it feels slower for this type of response time. When I click to select a clip in the timeline, it takes a fraction of a second to respond. The same action is nearly instant in Premiere Pro. The reason seems to be that FCPX is constantly writing each action to the Library in a “constant save” mode. I have seen such differences across multiple Macs and hard drive types over the eight years since its introduction with very little improvement. Not a deal-breaker, but meanwhile, Premiere Pro has continued to become more responsive in the same period.

Customizable user interface – Users first exposed to Premiere Pro’s interface may feel it’s very complex. The truth is that you can completely customize the look, style, and complexity of the interface by re-arranging the stacked, tabbed, or floating panels. Make it as minimalistic or complex as you need and save these as workspaces. It’s not just the ability to show/hide panels, but unlike other NLEs, it’s the complete control over their size and location.

Media Browser – Premiere Pro includes a built in Media Browser panel that enables the immediate review and import of clips external to your project. It’s not just a view of folders in a clip name or thumbnail format to be imported. Media Browser offers the same scrubbing capabilities as for clips in a bin. Furthermore, the editor can directly edit clips to the timeline from the Media Browser, which then automatically also imports that clip into the project in a one-step process. You could start with a completely blank project (no imported media clips) and work directly between the Media Browser and the timeline if you wanted to.

Bins – Editors rely on bins for the organization of raw media. It’s the first level of project organization. FCPX went deep down this hole with Events and Keywords. Premiere Pro uses a more traditional approach and features three primary modes – list, thumbnail, and freeform. List and thumbnail are obvious, but what needs to be reiterated is that the thumbnail view enables Adobe’s hover scrubbing. While not as fluid as FCPX’s skimming, it’s a quick way to see what a clip contains. But more importantly, the thumbnails are completely resizable. If you want to see a few very large thumbnails in the bin, simply crank up the slider. The newest is a freeform view – something Avid editors know well. This removes the grid arrangement of the bin view and allows the editor to rearrange the position of clips within the panel for that bin. This is how many editors like to work, because it gives them visual cues about how material is organized, much like a storyboard.

Versatile media and project locations – Since Premiere Pro treats all of your external storage as available media locations (without the need for a structured MediaFiles folder or Library file), this gives the editor a better handle on controlling where media should be located. Of course, this puts the responsibility for proper media management on the user, without the application playing nanny. The big plus is that projects can be organized within a siloed folder structure on your hard drive. One main folder for each job, with subfolders for associated video clips, graphics, audio, and Premiere Pro project files. Once you are done, simply archive the job folder and everything is there. Or… If a completely different organizational structure better fits your needs – no sweat. Premiere Pro makes it just as easy.

Multiple open sequences/timelines – One big feature that brings editors to Premiere Pro instead of Media Composer or Final Cut Pro X is the ability work with multiple, open sequences in the timeline panel and easily edit between them. Thanks to the UI structure of Premiere Pro, editors can also have multiple stacked timeline panels open in their workspace – the so-called “pancake timeline” mode. Open a “KEM roll” (selects sequence) in one panel and your working sequence in another. Then edit between the two timeline panels without ever needing to go back-and-forth between bins and the timeline.

Multiple open projects/collaboration – Premiere Pro’s collaboration capabilities (working with multiple editors on one job) are not as robust as with Avid Media Composer. That being said, Premiere’s structure does enable a level of versatility not possible in the Avid environment – so it’s a trade-off. With Premiere project locking, the first editor to open a project has read/write control, while additional editors to open one of those open projects can access the files in a read-only mode. Clips and sequences can be pulled (copied/imported) from a read-only project into your own active project. The two will then be independent of each other. This is further enhanced by the fact that Premiere offers standard “save as” computer functions. If Editor #1 wants to offload part of the work to Editor #2, simply saving the project as a new file permits Editor #2 to work in their own active version of the project with complete read/write control.

Mixed frame rates and sizes – Premiere Pro projects can freely mix media and timelines with different sizes, aspect ratios and frame rates. It’s not the only NLE to do that, but some applications still start by having the project file based on a specific sequence format. Everything in the project must conform or be modified to those settings. Both solutions are viable, but Premiere’s open approach is more versatile for editors working in the hodgepodge that is today’s media landscape.

Audio mixing – While all NLEs offer decent audio mixing capabilities, Premiere Pro offers more refined mixing functions, including track automation, submaster tracks, proper loudness measurement, and AU, VST, and VST3 plug-in support. FCPX attempts to offer a trackless mixing model using audio roles, but the mixing routine breaks done pretty quickly when you get to a complex scenario, often requiring multiple levels of compound clips (nested sequences). None of that is needed in Premiere Pro. In addition, Creative Cloud subscribers also have access to Adobe Audition, a full-fledged DAW application. Premiere Pro sequences can be sent directly to Audition for more advanced mixing, plus additional Audition-specific tools, like Loudness Match and Music Remix. Adobe markets these as powered by Adobe Sensei (Adobe’s banded artificial intelligence). Loudness Match analyzes an audio clip and intelligently rises the gain of the quieter sections. Traditional loudness controls raise or lower the entire clip by a fixed amount. Music Remix doesn’t actually remix a track. Instead, it automatically edits a track based on a target length. Set a desired duration and Audition will determine the correct music edit points to get close to that target. You can use the default or set it to favor shorter sections, which will result in more edit points.

Interoperability – Most professional editors do not work within a single software ecosystem. You often have to work with After Effects and Photoshop files. Needless to say, Premiere Pro features excellent interoperability with the other Adobe applications, whether or not you use the Dynamic Link function. In addition, there’s the outside world. You may send out to a Pro Tools mixer for a final mix. Or a Resolve colorist for grading. Built-in list/file export formats make this easy without the requirement for third-party applications to facilitate such roundtrips.

Built-in tools that enhance editing – This could be a rather long list, but I’ll limit myself to a few functions. The first one I use a lot is the Replace command. This appears to be the best and easiest to use of all the apps. I can easily replace clips on the timeline from the source clips loaded into the viewer or directly from any clip in a bin. No drag-and-drop required. The second very useful operation is built-in masking and tracking for nearly every video filter and color correction layer. This is right at your fingertips in the Effects Control panel without requiring any extra steps or added plug-ins. Need more? Bounce out to After Effects with its more advanced tools, including the bundled Mocha tracker.

Proxy workflow – Premiere Pro includes a built-in Proxy workflow, which permits low-res edit proxies to be created externally and attached, or created within the application itself. In addition, working with proxies in not an all-or-nothing feature. You can toggle between proxies and high-res master clips, but you can also work with a mixture of proxies and high-res files. In other words, not all of your clips have to be transcoded into proxies to gain the benefit of a proxy workflow. Premiere takes care of tracking the various clip sizes and making sure that the correct size is displayed. It also calculates the size shift between proxy frame sizes and larger high-res frame sizes to keep the toggle between these two seamless.

Relinking – Lastly,  Premiere Pro can work with media on any of the available attached drives; therefore, it’s got to be able to quickly relink these files if you move locations. I tend to work in a siloed folder structure, where everything I need for a project is contained within a job folder and its subfolders. These folders are often moved to other drives (for instance, if I need to travel with a project) or archived to an external drive and later restored. It’s critical that a project easily find and relink to the correct media files. Generally, as long as files stay in the same relative folder paths – in relation to the location of the project files on the drive – then Premiere can easily find all the necessary offline media files once a project is moved from its original location. This is true whether you move to a different drive with a different volume name or whether you move the entire job folder up or down a level within the drive’s folder hierarchy. Media relinking is either automatic or worst case, requires one dialogue box for the editor to point Premiere to the new path for the first file. From there, Premiere Pro will locate all of the other files. I find this process to be the fastest and least onerous relink operation of all the NLEs.

©2019 Oliver Peters