Choosing a video editor


Apple Final Cut Pro X Reviewed: Not Ready for Professionals

OnlineVideo.net published my review of Apple's Final Cut Pro X here. At about 3500 words, it's one of the longest reviews I've written in awhile, with 16 screen shots. My conclusion? While not fully rendered, my project is done, and this review almo...

Final Cut Pro X - Killed by the Suite

By now you've probably heard that Final Cut Pro X lacks many features that professionals need, including the ability to load Final Cut Pro 7 projects, multicam support, plug-in support, OML or EDL support and tape output. Judging from the noise on bl...

Adobe Announces Creative Suite 5.5

Adobe announced today that it will have Creative Suite 5.5  ready for shipment by June 30. The retail price for the Production Premium suite is unchanged at $1,699, with upgrades from previous versions starting at $399. I wrote a quick news piece for StreamingMedia Magazine that you can read here, and interviewed two members of Adobe's product management staff in videos that you can on this site by clicking over to the main article.

Choosing a Premiere Pro Preset; HD Vs. SD

Compare.pngI shoot pretty much exclusively in HD now, but often render to SD DVDs. When it comes to choosing a sequence preset for Premiere Pro, I have two options, native HDV, which is the format that I typically shoot in, or 720x480 widescreen to match my DVD output. Which is better? Well, the quality difference isn't significant, but it is noticeable, and using a 720x480 sequence and shrinking the HDV video to match produces better quality.

Webinar: What You Need to Know About Premiere Pro CS5

            I'm presenting a free webinar entitled "What You Need To Know About Adobe Premiere Pro CS5" for NewMediaWebinars.com on May 18, 2010 at 10:00 AM PST to 11:30AM PST. The webinar is designed for anyone considering upgrading to or buy...

Adobe Creative Suite 5 first look

Today, Adobe revealed Creative Suite 5 (CS5). Like many members of the press, I've been working with beta software for about three months, and I am very familiar with the additions to Premiere Pro, OnLocation, Media Encoder, and a couple of ancillary programs, which I'll detail here. For information about After Effects, Photoshop, or other programs in the suite, you'll have to look elsewhere.

At a high level, the improvements to this corner of the suite concentrate in two areas: performance and metadata. Let's talk performance first. Since the Apple iPad shipped about two weeks ago, there's been a general surfeit of glowing adjectives on the Internet and in print, and we've all become somewhat immune to terms such as "amazing," "fantastic," and "astounding" (let's call it the "iPad effect"). So I'll be objective and descriptive, rather than literary.

New Performance Features in Adobe Premiere Pro CS5

Here's a screencam-based tutorial detailing and demonstrating the new performance related enhancements to Premiere Pro CS5 and identifying the relevant hardware requirements. Click the link to view the main article and the video.

Adobe Premiere Pro CS5: A review

If I were to take a long-term view of the successive Creative Suite (CS) releases from San Jose, Calif.-based Adobe Systems, I would equate them to a product created a bit further north in Napa Valley. As you may recall, for most Windows-based users, CS3 was a bit thin—Mac compatibility was the most prominent new feature. At some point, seemingly late in the game, it felt like Adobe measured the value of CS3 for Windows users, decided it was weak, and bought Serious Magic so it could throw OnLocation (then DV Rack) into the suite.

In contrast, CS4 was very robust and full-bodied. Not only did Adobe deliver AVCHD support, it also extended Dynamic Link from Premiere Pro to Encore, so you didn’t have to render between editing and authoring, which was a huge timesaver. Adobe also debuted Adobe Media Encoder, a competent and easy-to-use batch encoding utility. Throw in lots of smaller but highly useful improvements—such as multiple sequences with different parameters in Premiere Pro, one-to-many edits in Premiere Pro (i.e., the ability to apply one filter to multiple clips simultaneously), multitrack capability in Soundbooth, a new interface for OnLocation, and many others—and you had a true vintage release.

Some things I've done on Final Cut Studio 3

I was fortunate to get an early look at Apple's new Final Cut Pro 7, and wrote several articles that you might find of interest.

Millimeter - Apple Final Cut Pro 7: First Look Review. A good overview of the key new features.

StreamingMedia.com - Apple's New Final Cut Studio Offers Workflow, Output Improvements. Focuses on encoding related features and workflows.

Blu-ray Creation with the New Apple Final Cut Studio.  Here I detail how to install a Blu-ray burner into a Mac Pro and how to create a Blu-ray disc with Final Cut Pro 7.

Available on StreamingLearningCenter.com are two screencams, one showing the new features of Final Cut Pro 7, the other doing the same for Apple Compressor

Hope you enjoy!

Final Cut Pro 7:First Look Review

By now you know that Apple has launched an update to Final Cut Studio. I got an early look last week. The new version will cost $999, a reduction in price of $300. If you own any previous version of Final Cut Pro—even version 1, insisted the product manager in our meeting—you can upgrade to the new Final Cut Studio for $299. From my tests, editors will find the upgrade price worth it. Note, however, that the new version, which is available now, will only run on Intel-based Macs and not older PowerPC-based systems.