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Wednesday, 16 July 2014 18:42

Adobe Premiere Pro Sets the Standard

Written by  Dyana Carmella
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Adobe is taking over the world of filmmaking. The company’s Premiere Pro video editing software is becoming the standard in postproduction for studio films, independent cinema, broadcast TV and new media.

High-end broadcasters, such as BBC and CNN, and top Hollywood filmmakers like David Fincher all rely on Adobe Premiere Pro. The highly popular software has been lauded by professionals for its advanced features, which include multiple sequence support, high bit-depth rendering, multi-camera editing, time re-mapping, color correction tools and advanced audio-mixer interface.

 Evolving technology is changing the creative process for artists working in visual media, as new software allows them to expand their vision. Creators that work with still images, such as photographers and graphic artists, also want to embrace new technology to expand into moving pictures. “We have high-end users, like Fincher’s editors, all the broadcasters that switched, and all those power editors who want power-editing features,” says Adobe Product Manager Al Mooney, “but we are also extremely keen to insure that if you are someone who works with Illustrator or Photoshop and are used to the still image, we really want to make it as easy as possible to make the transition to the moving picture. It’s very rare to work on a single discipline anymore. We are always adding features to Premiere Pro to make it intuitive and easy.”

Adobe is all about addressing the needs of the consumer, and its editing software has to be fast, stable and easy to use. After the release of Creative Suite 5, the company saw the need for changes. Adobe effectively rebuilt the engine underneath the application to assure that it performed extremely well with capabilities for 4K and beyond. The new compatible engine now offers a beautiful interface and a fluid editing experience — and editors are responding very positively. 

400 PremiereProCC Masking-and-Tracking copy“We are extremely engaged in the editing community,” says Mooney. “It’s something I’m very proud of and something I think is crucial. We go out and are extremely active with user groups. We go out and sit and visit with customers [to] share our road map, and we hear their ideas and we respond to their ideas and alter our road maps accordingly. We listen to what problems editors have, and we come back and work really hard on solving those problems and giving [editors] those features that are specifically tailored to what issues we’ve heard from them.” Adobe relies on the power of social media like Twitter and Facebook to elevate direct communication with its customers. “People love that they can Tweet the product team directly and get a reply,” Mooney reports. “That to me is the most important thing we do. That feedback is crucial. We can’t do everything for everybody. We always have to prioritize based on what we think is going to move the needle the most and what we’re hearing the most.” 

In May 2013, Adobe moved from perpetual licensing to its Creative Cloud subscription service, which enables the company to develop much more aggressively and respond to needs in a much more agile way, particularly in film and broadcast postproduction. Adobe currently has 2.3 million subscribers, and users wanting a test drive of Premiere Pro can only do so through the Cloud service. “The rate of change in this industry is absolutely extraordinary,” says Mooney. “I joke that a new camera format comes out every 12 seconds. All of the sudden everyone is into 4K. Really the Creative Cloud model has enabled us to free ourselves from what were almost shackles, where we could not add features to the product more than once every 12 to 18 months. With the move to Creative Cloud in 2013, we shipped four feature-baring releases of Premiere Pro. They weren’t all the size of CS6, but we were able to listen to the market and say, ‘Yeah, we know you want that. It’s coming soon.’” 

One of the biggest advantages for consumers is the way Adobe products can be integrated through Adobe Dynamic Link. “[Adobe Premiere Pro] has a great integration with Photoshop because very often people build titles and graphics and then bring them in and animate them,” Mooney explains. “We have technology called Dynamic Link, where if you need to add VFX to your editing workflow, you can just right-click on some clips and take them over to After Effects. There’s no export, there’s no render, there’s no transfer of data. You do your work in After Effects, and then everything you do in After Effects is immediately reflected back to your Premiere Pro timeline, and that saves huge amounts of time.” 

David Fincher’s soon-to-be-released feature Gone Girl was edited exclusively on the Premiere Pro platform in Los Angeles, Calif. The film required thousands of Dynamic Link/After Effects compositions. “[For editors], we talk about Premiere Pro being the creative hub where you spend most of your time,” says Mooney. “And you can do most of the things you need to do, but then whenever you need to embellish, you can go outside to these other [Adobe] products, which are in the Creative Cloud, embellish that discipline then come back to the hub. I really don’t think anyone else can offer that kind of integration. That’s a huge benefit for us.” 

Adobe is pulling out all the stops to create innovative products that will take visual media to a whole new level. The company’s lineup of postproduction tools is allowing today’s artists to shape the future of creative content.

To learn more about Adobe Premiere Pro click here

 

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