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Adobe Premiere Pro CS6

 

premiere pro cs6 box shot

 

MAKING THE FINAL CUT WITH STYLE AND SUBSTANCE


 

by Eden Maxwell

 

with video tutorial recommendations from lynda.com, peachpit press, plus helpful links

 

Software Training Online

 

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Winter, 2013

 

NOTE: Please bookmark this page for future reference.

 

By Eden Maxwell

 

READY FOR MY CLOSE-UP, MR. DEMILLE

premiere pro mnemonicIn Hollywood where production costs run into many millions, the most coveted negotiated point among directors is having final cut—to tell their story. Although most directors can't swing having final cut, all directors collaborate closely with their editors.

Editing is not a science; it’s an influential and magical art form that has been developing over the years. For example, in the early days of filmmaking, editing was a tedious and potentially dangerous process of cutting and assembling highly flammable celluloid. Cut scenes would physically end up on the cutting room floor.

Directors and producers during that era of the silver screen were working on certain misconceptions about film editing. The common wisdom at the time and for years to come concluded that audiences would not be able to follow a jump cut, a disconcerting nonlinear cut to, and that they would get confused and even feel cheated by a close-up—after all moviegoers were paying to see the whole actor.

Transforming unedited footage into a compelling film (from a commercial to a major motion picture) is based on the film editor’s sense of where to cut, the sequence of the clips, tone, and timing. And, we now know that ‘jump cuts’ and a ‘cut to’ have become staples in editing, and that scenes don’t have to be linear to provide continuity in a story. It’s been observed by a well-known director that a film needs a beginning, middle, and end, but not necessarily in that order.

LANDMARK RELEASE

Adobe Premiere Pro CS6 represents a landmark release—and for good reason. Evolving in the wings for years, Premiere Pro’s latest release has been elegantly redesigned with input from video/film editors. With all its new and well thought out enhancements coming together, Premiere Pro CS6 earns its spot as the top contender in the professional nonlinear editor application market.

Editors will appreciate many new features that efficiently and significantly simplify the editing workflow. Dynamic timeline trimming (J-K-L as reflected in trim mode from the Project monitor), Warp Stabilizer for smoothing uneven footage (good but could be better), Rolling Shutter Repair to correct wobble and skew, the revamped Three-Way Color Corrector effect, plus fluid multiple-camera support have all been added to meet the most challenging production deadlines.

MULTICAM SHOOTS

Multicam editing is significantly improved and more intuitive in Adobe Premiere Pro CS6. As views of each camera are displayed in the multi-camera panel, editors can either click on each camera angle image, or simply select their cuts for each camera using the numeric keypad: 1, 2, 3, etc. Multicam edits are immediately reflected in the sequence. Also, with Premiere Pro CS6, directors are no longer limited to four cameras, as they were in the prevision version.

Premiere Pro CS6 also combines reliability with speed based on the GPU based Mercury Playback Engine on supportable graphics cards. If not, CS6 still boosts performance considerably using the software-mode of the Mercury engine—more about this engine later on.

THE REDUNCY FACTOR

The good news is that there are numerous ways to accomplish the same task in Premiere Pro CS6. The bad news is that there are numerous ways to accomplish the same task in Premiere Pro CS6. For example, you can add a clip to the timeline by either clicking, dragging, using a dropdown menu or a keyboard shortcut.

But, there is a method and logic in providing different options to achieve the same result. Premiere Pro’s built-in redundancy factor remains faithful to its nonlinear editing heritage while giving editors workflow options and tools that work best for them.

FOR WHOM THE B-ROLLS

Current users will be immediately impressed with the overall look, design, and feel of Adobe Premiere Pro CS6.

Good news if you’re coming from another NLE. You will find out that there is little that you have to relearn while also discovering many new productive tools, including how smoothly Premiere Pro imports your data from most formats. Should any conflicts arise during an import, CS6 thoughtfully generates a detailed report describing the possible issue and resolution.

MANY HATS

The job of the today’s video editor involves a wide range of creative responsibilities. Beyond cutting the project, editors are often expected to: edit multiple camera tracks and syncing them via the timecode, correcting video exposure and color, and enhance a graphic.

While all professional NLEs do basically the same thing, not all NLEs are created equal, which users quickly discover when they begin working with Adobe Premiere Pro CS6—a NLE that does not disappoint.

Although it has been well designed and implemented, Premiere Pro CS6 is a complex app with many features to explore. Mastering the program requires that you make it part of your daily workflow. CS6’s various panels including the formidable Media Browser help you organize clips while staying structured throughout the editing process, which is an essential discipline for productivity now and when you might have to revisit your work in the future.

LOGISTICS

Experienced editors know that giving each sequence a meaningful name is a good habit to develop. Another way to save time and frustration includes organizing your media in the OS finder into folders (interviews, close-ups, graphics, music, multi-cam, audio, b-roll, etc.) before importing (Media Browser is best) them into Premiere Pro, which maintains your folder structure in the Project panel.

As part of the learning curve, it may take some months to become accomplished with Premiere Pro. But, I was getting the hang of it after several weeks, which is a motivating plus for a novice with iMovie, Final Cut Express HD, and Adobe After Effects experience—and certainly for an experienced editor coming from another professional NLE.

ADOBE ECOSYSTEM

In addition to its standout editing tools, another major reason that editors are drawn to Premiere Pro CS6 is its integration with other workflow related creative suite applications like Photoshop, After Effects, Audition, Encore, as well as Adobe Story (free) for importing scripts that improve video searching to locate that precise frame. This tight integration between programs is accomplished via Adobe’s Dynamic Link.

Moving media and sequences between apps in any production pipeline most often require format conversion, specialized plug-ins, tedious workarounds, or manual manipulations to recreate elements that don’t transfer. Adobe Premiere Pro CS6 addresses these steps with it's still faster Dynamic Link; and enhanced support for industry-standard interchange formats lets Final Cut and Avid editors, for example, import their files with remarkable accuracy.

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DYNAMIC LINK / TIMESAVING ADOBE INTEGRATION

The idea behind Adobe Dynamic Link is to minimize the need for time-consuming intermediate rendering or exporting. Premiere Pro CS6’s Dynamic Link greatly simplifies jumping back and forth between supported Adobe applications—a point worth mentioning again.

Via Dynamic Link, when you apply effects to a clip or an entire sequence in one app, those elements are automatically updated and reflected in the linked app. For example, you can drag and drop or copy and paste clips and timelines seamlessly between Adobe Premiere Pro and After Effects.

For a more productive workflow, you can now cancel a Dynamic Link process or perform other operations while using it. The benefits of Dynamic Link between Adobe Premiere Pro and After Effects are now available even when the applications are purchased separately, outside of Adobe Creative Suite Production Premium.

After completing your show you can take any sequence and send it to Adobe Encore through Dynamic Link. This method allows you to pass a sequence to DVD, Blu-ray, or Flash without having to first spend time rendering the file.

AN ELEGANT GATEWAY

Premiere Pro CS6’s revamped interface is by far the most integrated and well designed among the small but highly competitive field of nonlinear editors. Adobe After Effects users especially will feel right at home with Premiere Pro, as workspace windows and conventions are similar.

By positioning the Source Monitor and Program Monitor side by side at the top of the screen, the default streamlined two-up workspace is designed to help you focus on content; the Project panel, Media Browser, Info panel, and Effects panel are located at the lower left, and the Timeline panel as well as the Audio Meters panel are in the lower right corner of the screen. The robust Project monitor also helps you organize your media.

BUTTONS / GET WITH THE PROGRAM

Editors work mostly in the Source and Program monitors, which in CS6 have been significantly simplified and made more productive. For example, you can modify the button panel or remove the panel for more monitor real estate. Easy access via a dropdown menu to display playback quality (full, half, etc.) is handy, especially when working with a slower computer system where playing back at a lesser resolution is faster without issues.

The default workspace now features the improved Audio Mixer, as well as the enhanced customizable Audio Meters panel. Support for trackpad gesture control lets users of Mac desktop computers with a Magic Trackpad or Mac laptops easily navigate the Timeline and Effect Controls panels using pinch-to- zoom and two-finger scrolling.

Note: The legacy default CS5.5 workspace is still available from the Workspace menu, and because workspace layouts can be saved with each project file, you can customize your workspace layout. In general, Final Cut Pro users will also be comfortable with the default workspace in Premiere Pro CS6. If not, during their transition, both Final Cut and Avid editors may find the legacy workspace layout more familiar. But, it’s more productive to get with the program and embrace the Adobe Premiere CS6 default workspace.

COLOR MY WORLD

Working under the supervision of directors and producer, editors in post-production are often tasked as noted earlier to do more than assemble raw footage and refine a rough cut. For example, an editor would put his or her talent to work to enhance or express a mood by manipulating color, shadows, focus, and saturation. When done seamlessly and organically, the audience is unaware of any edit or color grading.

With Premiere Pro CS6, Adobe engineers have improved upon the Three-Way Color Corrector effect by simplifying the controls while keeping the core power intact. Editors can now access intuitive auto-correct features to make global adjustments, and then fine-tune their footage using color wheels, sliders, and other controls. After selecting a clip, the Three-Way Color Corrector is applied from the Effects panel.

Users can view the results of their color modifications in real time—thanks to Premiere Pro’s GPU acceleration Mercury Playback Engine.

NEW KIDS ON THE BLOCK: SPEEDGRADE / PRELUDE

Premiere Pro CS6 works seamlessly with two additional programs new to the Creative Suite: Adobe SpeedGrade, a first-class color correction and grading tool, and Adobe Prelude for ingesting and logging file-based media, which as a preliminary edit saves time in post. Encore is the DVD authoring program included with Premiere Pro CS6; Encore is now a 64-bit application that goes beyond its previous 32-bit memory limitations.

Note: Both SpeedGrade and Prelude CS6 are available separately or as part of Adobe Creative Suite 6 Production Premium or Master Collection or the Adobe Creative Cloud service.

speedgrade logo

ADOBE SPEEDGRADE

SpeedGrade is yet another significant reason for crossing over to Adobe Premiere Pro CS6. You can export files directly to SpeedGrade from within CS6, which not only saves time, but also adds up to a huge plus creatively and a solid value for your dollar.

While the Three-Way Color Corrector is a good tool, there are times when professional video editors and colorists often need more control for more demanding color grading tasks, especially when working with HDR (high dynamic range) and raw video workflows. Adobe answered their customer’s needs by acquiring Iridas in late 2011, a company well known for its innovative and expensive ($20,000) color editor SpeedGrade, already in use by many colorists.

SpeedGrade can read file-based workflows with support for HDR footage and many native RAW formats including RED R3D, Phantom RAW, ARRIRAW, and SI-2K RAW. Raw cameras can capture images in a wider dynamic range, which provides editors with the option to work with better overall exposure and the rich color information stored in these formats.

IN THE RAW

High dynamic range retains the original bit-depth of your image files, as recorded straight from the camera sensor. The ability to work directly with RAW images lets you pull details from blacks and highlights that might otherwise have been lost in a compressed format that typically discards a certain amount of fine detail.

Another plus when working with uncompressed RAW files is that editors can conveniently pull stills from high-resolution footage for use in graphics and promotion, including print.

Note: When using the new Send To SpeedGrade command, confirm that your camera and files support SpeedGrade. You can then send completed sequences directly to SpeedGrade where a new user interface guides you step-by-step through the grading process and workflow. SpeedGrade maintains any effects you applied in Premiere Pro, plus it supports audio, so you can listen while viewing your clips. If your client presents you with a full movie instead of clips, SpeedGrade will also help you find the cuts and then divide the movie into manageable and editable clips.

ADOBE PRELUDE / INGESTING / LOGGING

Whether on location or studio, Prelude allows producers and directors to speed up the editing process through a number of time saving features: 1) ingesting full or partial media clips that were shot in most file-based formats, 2) copying or transcoding them to the preferred editing format during the ingest (bringing the media into the app) process, 3) logging, 4) and then viewing clip thumbnails in the Ingest dialog box.

While previewing footage, directors and producers can also mark In points and Out points for rough cuts (the correct sequence of shots) and add searchable temporal markers, comments on the media, and tags to clips.

prelude logo

NO GUESSWORK IN THE PIPELINE

Accessed from within CS6, Prelude helps editors manage file-based media more productively. With clearly defined input from a director or producer, less guessing on content and aim saves time and frustration for a more creative and harmonious workflow.

All of the Prelude information is stored as metadata in your media files, which flows directly into Adobe Premiere Pro when you import those files. And when you start editing, those searchable metadata-based markers, comments, and tags help communicate the director’s intentions, as well as help you sift through “reels” of footage to quickly find what you’re looking for. Metadata is also useful when finished projects are uploaded to the Web where the target audience can more easily find your content via search engines.

PROJECT PANEL / HOVER SCRUBBING

The new Project panel lets you view, sort, and arrange media more easily by directly displaying resizable 16:9 thumbnails of your clips. In Icon view, clips can be selected and scrubbed by using the clip playhead, standard J-K-L or spacebar keyboard shortcuts.

Hover scrubbing is another great new feature. When hovering the cursor over a clip, you can get a sense of the action by scrubbing through it by moving the cursor from side to side. Hover scrubbing can be toggled on and off by pressing the Shift key. These related Project panel enabled editing capabilities eliminate the need to open and edit a clip in the Source Monitor panel, saving time consuming steps in finding, comparing, and logging shots. Thumbnails automatically scale to fit when the panel is resized.

TRIM POWER

The editor’s mantra goes like this: The power is in the trim. The art of trimming is the essential part of the editor’s workflow.

As previously noted, Adobe Premiere Pro CS6 has made significant improvements in the trimming tool category that includes the ripple edit, rolling edit, slip, and slide tools (especially useful)—each with its own purpose. But, all these tools can be excessive if all that’s necessary is setting a clip’s In and Out points without disturbing adjacent clips or affecting sequence length.

Also, while CS6 offers many transitions, most often a simple cut or dissolve is the best choice. But, that shouldn’t prevent you from experimenting with Premiere Pro’s many creative options.

TRIMMING MODE / PROJECT PANEL

Trimming mode in the Project panel is a smoother approach that makes editing a more efficient and fun process. Good editors go by feel, visual feedback, not counting frames or other numerical elements. Organic editing is more impactful than precision.

You can view your edits in a two-up screen in real time (and viewing footage in real time without having to render is one CS6’s biggest benefits) with a minimum of commands instead of having to modify and shift clips about in the timeline. You can also save much time by marking In points and Out edit points directly in your clip thumbnails displayed in the Project panel.

TRIM MONITOR

While the legacy pop up window trim monitor is still available from the Window Menu, Premiere Pro CS6 introduces a better and less obtrusive solution. Trim mode is now better integrated into the Project panel.

Double clicking on a trim point in the timeline dynamically changes the Program Monitor into trim mode. The trim monitor displays a two up screen with the outgoing and incoming shot, and timecode if present.

From within the trim monitor, you can click on buttons (or keyboard shortcuts: J-K-L, etc.) to trim forwards or backwards. You can also click on a button to apply the default transition, and then playback the edit, which conveniently loops for review when pressing the spacebar.

SOURCE / PROGRAM MONITOR / BUTTON BAR

The Source Monitor and Program Monitor panels (as mentioned above) have been redesigned to maximize the amount of content displayed and to allow for customization. For example, each monitor panel’s button bar, or transport controls can be hidden from view, leaving more screen real estate—ideal for keyboard-driven workflows. The button bar can also be easily reconfigured using the new Button Editor, which lets you reposition the transport controls and default buttons, as well as customize the button bar by adding the buttons you use most frequently.

In the Source monitor, you can either select from the dropdown menu setting (wrench icon) to always loop a clip, or use the keyboard shortcut (Mac) option>k.

Note: Hover the cursor over any of the buttons to display a tooltip identifying that button’s function and the keyboard shortcut associated with it. Tooltips are available throughout Premiere Pro CS6 and are a great way to become proficient with the program.

MEDIA BROWSER

Like the Project panel, the Media Browser panel in Adobe Premiere Pro CS6 now lets you resize clip thumbnails, providing more immediate visual access to your content. Clips can be selected and scrubbed using the clip playhead, via standard J-K-L and spacebar keyboard shortcuts, or by hover scrubbing. As you can see, many functions overlap among these panels, providing editors with flexibility and options.

The efficient way to add a clip to your project involves dragging it from the Media Browser and hovering the cursor over the Project panel tab. When the Project panel opens, position the cursor over the folder you want to add the clips to, and release the mouse button. A dialog box lets you know that the clips are being imported.

For importing footage the Media Browser is a more productive option than importing footage through the Import command. For example, importing footage through the Media Browser will also find and discard duplicate clips, which can easily appear in multicam shoots and complex shows.

premiere pro mnemonic

IMPORT PRIMER

Importing media into Premiere Pro means that you’re pointing to where the files exist on your hard drive, attached hard drive, or on a camera card. If you change or remove where those files are, you will have to re-establish those links to the media. For example, if you launch Premiere Pro and your external HD with your files is not turned on, you’ll get a message that your media is offline. If you should accidentally write over your card or remove the media from an attached hard drive, it’s gone forever.

Not all NLE apps store media in the same way. With Adobe Premiere Pro, the default (which you can change) is to store the media with your project file. This simplifies organization, backing up, and moving projects. Because all video and audio are stored together with the media, essential media functions are straightforward. Since media storage is set on a per-project basis, the media and project always live together.

Windows user concerned with importing QuickTime movies—even if QuickTime isn’t installed—can import them. Premiere Pro understands all of the standard QuickTime codecs and can play them back.

KEYBOARD SHORTCUTS / HIDDEN FEATURES

Keyboard shortcuts quickly become an essential part of an experienced editor’s workflow. The more you use the keyboard over clicking buttons, the faster you will be with Adobe Premiere Pro. Type a few letters in the Keyboard Shortcuts search field and CS6 easily locates desired keyboard shortcuts—this handy search tool greatly encourages the use of keyboard shortcuts.

Some powerful keyboard shortcut features in CS6 are hidden. You may have lots of clips, interview footage or especially b-roll to look through, and you want to quickly lop off parts that you won’t be using. You could use the extract function, but that requires multiple steps: pausing, setting In and Out points, and then hitting Extract.

TOP AND TAIL EDITING

If you'd like to quickly extract footage, a better alternative to the Extract command in Premiere Pro is one-button Top and Tail editing, which will also satisfy Avid and FCP users who want to switch to CS6.

Top and Tail editing allows editors to non-destructively cut off either the beginning or end of a clip, which is a speedier way to move through your footage. This enhanced form of a ripple delete is based on the position of the playhead in the timeline, and by combining several editing functions into one command you save time and finger dancing.

Here's how it's done. To work with Top and Tail editing in Premiere Pro, you simply remap the keyboard commands for ripple trim for next and previous. In keyboard shortcuts under ripple, assign R to ripple trim next edit to playhead, and W for ripple trim previous edit to playhead. Now, you can remove unneeded frames in your clips forward and backward with a single keystroke.

Note: You can also import your keyboard shortcuts from Final Cut Pro or Avid Media Composer. But, in the long run it’s more productive to work with Premiere’s default keyboard shortcuts, and adding more as you need them.

MERGE SYNC CLIPS

 

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DSLR: Canon EOS 6D 20.2 MP CMOS Digital SLR Camera with 3.0-Inch LCD and EF24-105mm IS Lens Kit. A great professional camera for still and movie-making on a budget.

The Merge clips command has been significantly improved with Premiere Pro CS6.

It’s becoming increasingly common to work within a sync sound workflow where audio is recorded to a separate device, while having multiple video tracks recording reference audio, especially when working with the current crop of popular DSLRs that take stills and records HD video, but are still notorious for having poor microphones.

In simplest terms, Merge Clips lets you sync your video (including timecode) with the good audio. Selecting ‘remove audio from AV clip’ in the Merge clips dialog box will discard the deleted scratch audio recorded with the camera microphone. The audio waveforms of your Merged clips will now reflect that the scratch audio has been removed from the audio tracks, although it’s still available should you need it.

GOING NATIVE / VIDEO FORMATS

There are many different cameras and systems of varying quality and cost used by film and video professionals. If you put a roomful of DPs together, each would have a camera of choice, which is a subjective decision. The most expensive camera is not always a consideration for being the best for the shoot. Today, in the right hands, one can create a feature film with an iPhone 5.

When you capture media, it’s essential that your NLE can read your preferred format. Again, Adobe Premiere Pro CS6 does not disappoint. CS6 offers the industry’s most comprehensive file-based workflows plus broad native support for nearly every major video format.

Native support lets you import footage from the camera’s storage media without having to perform transcoding or rewrapping operations, so you can start editing immediately. Working directly with the original source files means tedious conversion processes will never get in the way of quality while saving time.

Adobe continually updates its support for the latest camera file formats, and with this release adds native support for ARRI Alexa, RED SCARLET-X, RED EPIC, and Canon XF MPEG-2, 50 mbps format footage shot with Canon Cinema EOS C300 cameras. Support also covers HD (1920x1080p) and 2K (2880x1680) ARRIRAW files at a variety of frame rates.

 

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Building on its comprehensive support for RED digital cinema workflows, Adobe Premiere Pro CS6 includes native support for RED R3D and RMD files—including 5K-resolution footage—shot with RED SCARLET-X and RED EPIC cameras. Further integration means that the RED R3D Source Settings dialog box provides intuitive control over the look of RED media. You can, for example, pick a white balance point and use a histogram and a five-point curves interface to adjust red, green, blue, RGB, or luma values for a clip. Plus, you can import and save RMD files, as well as create custom presets.

INTELLIGENT DESIGN / MATCHING FOOTAGE & SEQUENCE

Editing work begins in earnest when you bring a clip into the timeline, which brings up Sequence settings. When you open a sequence, you’re asked to choose your settings from many options, which if you’re not certain can be intimidating.

pp cs6 mismatch

Adobe Premiere Pro CS6 takes the guesswork out of matching sequence settings with your footage. Regardless of your initial sequence settings (or the default), when you drag a clip into the sequence, a dialog box asks if you want to keep your existing sequence settings or change them? When you select change, Premiere Pro automatically matches the sequence settings with your footage. Now that your sequence settings have been adjusted, additional clips pop right in correctly.

BETTER YET / NO QUESTIONS ASKED

Adobe Premiere Pro CS 6 offers another option for automatically matching footage with your sequence. You can also make a sequence match your footage with a single step. Instead of creating a new sequence as described above, click and drag any clip in your project panel onto the New Item icon, adjacent to the trash can at the bottom of the interface. This matches your footage to your sequence with no questions asked.

AUDIO IS KING

While the quality of the film/video image is important, sound value is even more essential for a good edit. Think about it. If the sound is uneven, tinny, or scratchy, your attention shifts from the moving image to the annoying soundtrack. Audiences will forgive some image issues, but not audio problems.

Recording quality sound is a more complex task than capturing video or film. Adobe Premier Pro CS6 supports most audio formats: MP3, AAC (MP4), WAV, and AIFF. It’s best to work with uncompressed audio files such as AIFF or WAV, as they put less demand on your system, which improves overall performance. You can uncompress audio by transcoding the file through Premiere Pro or Adobe Media Encoder.

REDESIGNED AUDIO MIXER

The new Audio Mixer panel in Adobe Premiere Pro CS6 provides fast, accurate visual feedback about your audio signal levels. Improvements also include reworked mute, solo, and record buttons, which are easier to see.

Now, double-clicking a fader returns it to 0dB, and the mixer includes separate decibel level scales for the meters and faders. CS6 lets you view audio in a format that suits you.

Contextual menus provide a number of choices, including the option to reset the peak level indicators, show valleys at low amplitude points, change the displayed decibel range, and choose between dynamic peak indicators that update every three seconds or static peak indicators that hold the loudest peak until reset or playback is restarted.

For precise visual feedback about audio signal levels when a signal is present, peak levels are conveniently displayed numerically below each dynamic meter.

FLEXIBLE AUDIO TRACKS / STANDARD

Adobe Premiere Pro CS6 makes working with audio tracks simpler and less confusing. For example, a new audio track type called Standard lets you freely combine and pan mono and stereo clips. In CS6, an audio track can contain clips with any number of audio channels. Mono clips can be panned on the timeline using the Clip Panner. Unlike previous versions of Premiere Pro, the two stereo waveforms are now better displayed on a single track.

AUDIO METERS PANEL

The more accurate, responsive, and customizable new version of the Audio Meters panel takes up less space by default; you can also easily resize and arrange the panel to a new position—say, horizontally above the timeline.

Visual cues are enhanced in the revamped panel that now includes buttons for soloing each of the two audio channels, and it now meters content that is playing in the Source Monitor, giving you the ability to solo each channel while checking clips in the Source Monitor.

SPEED: 64-BIT MERCURY PLAYBACK ENGINE

Adobe Premiere Pro CS6’s features are more than skin deep. The 64–bit Mercury playback engine is the core technology that makes Premiere Pro fast and reliable.

The Mercury Playback Engine improved performance in Adobe Premiere Pro CS5 and CS5.5. Optimizations in CS6 make the Mercury Playback Engine even faster, allowing you to work with the latest HD and 5K digital cinema formats. The new GPU-accelerated uninterrupted playback feature lets you edit, trim, or adjust multiple effects and correct color during playback, all in real time—making Premiere Pro CS6 a wise choice.

When it’s properly configured and powered by supported accelerated, 32-bit color GPUs (NVIDIA, AMD), you can work with several different formats together in the same timeline and still achieve real-time playback. The GPU playback engine speed is also essential when editing a multicam shoot.

PLAN B/ SOFTWARE MODE

And even without GPU assistance, there’s a noticeable improvement in video performance through Mercury Playback software-mode. This feature lets you work on complex projects using a fast, GPU-enabled workstation, and then if necessary bring them onto a slower computer and continue working without interrupted video playback.

MACBOOK PRO SUPPORT

Mobile Mac users will appreciate new support for the OpenCL-based AMD Radeon HD 6750M and HD 6770M graphics cards with a minimum of 1GB VRAM; this GPU configuration is available with certain Apple MacBook Pro computers running OS X 10.7 (and up).

You can check with the Adobe website to see which GPUs are supported by the Mercury Playback Engine.

 

pp cs6 cuda

 

THAT’S A WRAP

As a standalone app, Adobe Premiere Pro CS6’s speed, reliability, third-party compatibility, and sleek customizable interface gives editors a superb nonlinear editing program featuring incredible digital tools for assembling a show. With Premiere Pro, you have the option of personalizing your workflow by selecting those features and tools that work best for you in getting the job done.

In addition, when you combine seamless support with other Adobe apps, we can jump cut to: Adobe Premiere Pro CS6 is the best value for your money, time, and effort.

Editors are upgrading or transitioning over to Adobe Premiere Pro CS6 for good reason. Professionals are known by the tools they choose.

PRICING

While you can purchase Premiere Pro CS6 outright for US $799, Adobe has inviting price points from their Cloud service, which is better buy and affordable.

Adobe Systems, Inc.

 

GETTING TO KNOW ADOBE PREMIERE PRO CS6

Tutorial Recommendations

 

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LYNDA.COM

If you haven't yet experienced the video tutorials on lynda.com, you are in for a pleasant surprise where you learn from excellent instructors at your own pace, which is essential for remembering the material.

You can try lynda.com on a reasonable monthly basis.

Here are two Premiere Pro CS6 courses plus a related DSLR course that I took. It was time well spent.

Premiere Pro CS6 Essential Training with Abba Shapiro

This course introduces Adobe Premiere Pro CS6, using a project-based approach that introduces video editors to all the skills necessary to cut their own program. Using a short commercial project as an example, author Abba Shapiro walks viewers through a complete and logical workflow that begins with importing media, creating a basic rough edit, and then refining the cut with music and sound effects, transitions, visual effects, and titles. The course also includes troubleshooting advice, such as reconnecting offline media and using the History panel to undo multiple actions.

Abba Shapiro presents the material intelligently and at a good pace. The course includes downloadable exercise files for premium membership.

Premiere Pro CS6 New Features with Richard Harrington

This course explores the features that will get video producers and editors excited about Adobe Premiere Pro CS6. Author Rich Harrington covers all the changes, ranging from the redesigned and customizable user interface, enhanced Mercury Playback Engine, and new footage logging in Prelude, to the new Audio Mixer, improved multi-camera editing, revised trimming behavior, and video adjustment layers.

Richard Harrington exudes a wealth of knowledge and time-saving insights about editing with Adobe Premiere Pro CS6.

DSLR Video Tips with Richard Harrington and Robbie Carman

This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.

The growing DSLR market interested in professional editing will include the need for NLEs, namely Adobe Premiere Pro CS6.



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PEACHPIT PRESS

Lynda.com is great. Still, it's handy to have a book reference to balance the learning curve. I've been referring to Peachpit titles for years with great satisfaction.

No matter how adept you are with Adobe Premiere Pro CS6, there is always more to learn about this fascinating and complex NLE. When you need a book for reference, I highly recommend the Peachpit Press titles listed below. I’m always referring to them.

You can link to these titles below or on their book covers in the sidebar.

 

Thanks for joining me on this tour of Adobe Premiere Pro CS6, a remarkable creative tool.

 

 

 

 

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