In this video we explore multiple ways of slipping and sliding via the keyboard. It may not be exactly how you expect, especially if you are coming from Final Cut Pro 7.
I don’t mention this in the video, but if you you want to slip numerically via the keyboard, you should use the method where you select the two edit points on either side of the clip for a slip or slide as shown in the video. Then, you can type thing s like +15 or -10, to slip numerically with your keyboard.
First off, if you want to know the logic behind what your sequence settings should be and when to render and not render, see these two posts, Sequence Settings Part 1 and Part2.
This post is intended to be a look at the differences in what will require rendering and re-rendering in FCP vs. Premiere Pro.
With the announcement of the Adobe CS6, my personal computer at home is really seeming long in the tooth. Don’t get me wrong, I can still open up Premiere Pro CS6 and edit HD ProRes material on my 2006 Mac Pro 1,1. It works shockingly well actually. I can play back without rendering, even add effects and enjoy real time playback for the most part. But I can’t get it out of my head how nice it would be to add an nVidia CUDA card, a new SSD, and a boat load of RAM. Granted, I could do all of that on my Mac Pro. But for a 2006 computer, it just doesn’t seem worth it.
I love the computer. I really do. It has performed amazing well for the past 6 years. Much better than any of the PCs I had previously. Granted, it probably cost twice as much as they did, but it was also a better machine with faster components. One that I could bring work home and know that my home system was capable. Now, I can’t even install Photoshop CS6 on it, because it doesn’t technically support the 64 bit version.
Which brings me to the point of the thread here. It is something that has been discussed at length by the pro industry and that is, does Apple care about us anymore? I could surely get an iMac, and be satified with it. But if Apple stops making the Mac Pro. What will my office and other shops like it do? Its hard to imagine a group of editing and finishing suites running off of iMacs and thunderbolt cards. Sure, it maybe be possible. But its hard to believe that an iMac, and its components which are essentially those of laptops can replace my work computer, a 12 core Mac Pro with 64 GB of Ram and an SSD boot drive. For most editing tasks an iMac would be quite sufficient, but when you throw things like 3D rendering and intense After Effects projects into the mix, it may be another story. Being that these are all things that I regularly deal with…I’m worried. And then, there is the new AE 3D Raytracing. Unless Apple has plans to switch back to nVidia (fingers crossed), I won’t be getting any GPU acceleration there either.
So the question is, does Apple have something amazing up their sleeves or are they going to send the professional editing and graphics industry, kicking and screaming back to to the PC? With the commotion surrounding FCPX, as people look toward cross platform solutions like Avid and Adobe Premiere Pro, the lines get blurred and it gives us a good deal to think about.
As a note, I should say, I own practically every Apple product, and have no desire to leave, but who knows what the future holds. If you would have told me I’d be editing stuff in Adobe Premiere Pro 2 years ago, I would have laughed at that thought too. Now look how far it has come!
Pro editor, Walter Biscardi is already contemplating these same questions and doing some great pieces on the exact ideas I discuss here.
iMac
PC
P.S. This article is not meant as any knock on the PC, Windows, or editors and designers already working on PCs. I know a huge portion of the industry is already doing that and was not implying anything is wrong with that.
This is perhaps the biggest new After Effects CS6 feature, and yet, we haven’t made a tutorial for it. Why you may ask? Well, being busy making all of these other tutorials, it was very hard to spend the time to cover the in depth new 3D features found in After Effects CS6. Another factor in this decision was that all of our systems are Mac based. Not to say that the new feature is not compatible with Macs, that is not the case at all. However, it does rely heavily on NVIDIA CUDA technology, which most Macs are no longer sold with (hopefully this will change soon). Again, to clarify, that doesn’t mean you can’t use it on a Mac or PC system without an NVIDIA card, but it is quite slow to work with to say the least.
Adobe has introduced a totally new playback engine in Premiere Pro CS6. What does that mean to the end user? It means no more AJA, Blackmagic, Matrox, etc. sequences needed for third party playback to your broadcast monitors. You still need the cards obviously, just not a branded sequence to play back with them. It also hopefully means an end to playback issues seen in previous versions.
In this quick Premiere Pro CS6 tutorial, I go over the basics of using the new Toggle Full Screen feature. This feature lets you quickly toggle your primary or secondary monitor to become a full screen display for the video you are editing. It’s particularly helpful when editing on a smaller resolution screen or on a screen that is not connected to an external broadcast monitor.
Credits: Thanks to John Gumaer for doing the intro sound design.
After Effects CS6 brings about the introduction of a game changing new feature, the 3D Camera Tracker. Using the same technology previously introduced in the Warp Stabilizer, the 3D Camera Tracker will analyze your footage in the background and attempt to track 3D features to create a solved camera.
This tutorial covers the new bounding box feature in After Effects CS6. With this feature, you can easily visualize the edges of your layers, making layers more discoverable and easy to work with. The video goes into detail about the simple and more advanced benefits of these display elements. One of the greatest new features is the ability to snap anchor points to corners, edges, and the center of layers.
Credits: Thanks to John Gumaer for doing the intro sound design.
Premiere Pro CS6 brings about the addition of a beautiful new thumbnail display. This feature, which includes the ability to scale your thumbnails from very small to large, also includes a new feature known as Hover Scrub.
The audio track setup in Premiere has been completed reworked in CS6. Stereo and mono tracks are no longer, having been totally replaced by standard tracks, that can hold both stereo and mono audio. In addition to the new track behavior, Premiere Pro CS6 has been given a new audio meter that is scalable to be anywhere from tiny to as large as full screen.