Premiere Pro is dead (to me). Long live DaVinci Resolve!

In an alternate timeline, no pun intended, Final Cut Pro 8 was a brilliant upgrade to Apple’s storied non-linear editor. FCP 8 introduced cutting edge innovations, 64-bit performance, and Apple’s trademark interface refinements without sacrificing existing features or compatibility with FCP 7. Six years later, with Avid in bankruptcy, Apple built on the runaway success of FCP 8 with FCP 9, an app so flawless that its users ascended to a higher plane of existence, their cinematic visions inspiring peaceful resolutions to all the violent conflicts on Earth. But here in this universe, Apple released FCP X, and I switched to Adobe Premiere Pro.... More »

10 Easy-to-Fix Things That I Can’t Believe Adobe Hasn’t Fixed in Premiere Pro CC

When FCP Classic was EOL’d in 2011, I was one of the first among my circle of editors in LA to give Premiere Pro a shot. Technically, Premiere had been around for quite a long time, but for Mac users, it was never even a contender. Plus, if you were like me, you mostly associated Adobe’s video products with Flash, which I loathed long before Steve Jobs famously published his thoughts on the subject.... More »

Adobe Premiere Pro CC Gripes and Wish List

Update October 15, 2014: The list portion of this post is current through Premiere Pro CC 2014.1 (8.1). I have placed check marks and notes next to items that have been fixed since the initial release of CC. August 16, 2013: I switched from Apple Final Cut Pro (versions 1 through 7) to Adobe Premiere Pro as my primary NLE in 2012. Since then, Premiere Pro has improved by leaps and bounds. Yet, it remains stubbornly rough around the edges and is, to quote C-3PO, “not entirely stable.” I use several Adobe apps on a daily basis, and I remain optimistic that Adobe will continue to make my Creative Cloud subscription worthwhile, but they need to release more frequent and substantial updates.... More »

Adobe Premiere Pro CS6 to CC: Wish List Scorecard

Premiere Pro CC is the first major release that began development after the FCPX debacle, and it shows. It caters directly to Final Cut switchers. That’s a good thing. There’s a reason that Final Cut gained supremacy among Mac users while Premiere settled into its place as a second-rate Windows alternative. At this point, I recommend Premiere Pro CC to Mac users who must inevitably say good-bye to the venerable and rapidly graying FCP7. Your Final Cut Pro 8 has arrived.... More »

Why Adobe Premiere Pro needs background rendering

The CS6 version of Adobe Premiere Pro went a long way towards winning me over after Apple stranded the FCP7 community with the release of FCPX. I still have many, many gripes, including major stability concerns in the Mac version, but I believe Premiere is close to being awesome. So it is a shame that it is still missing an important feature: background rendering.... More »

Adobe Premiere Pro for Mac: CS6 Gripes / CS6.5 Wish List (FCP switcher)

Updated on May 7, 2013 (after the announcement of Adobe Premiere Pro CC): Overall, I would recommend that disgruntled FCP7 users make the jump to Adobe Premiere Pro. It’s a 64-bit, cross-platform NLE that’s as close to Final Cut Pro 8 as you’ll find. It integrates with AfterEffects and the rest of the Creative Suite in ways that no other editing application can match, and with the introduction of the excellent Creative Cloud service, it’s easy and affordable to stay up to date.... More »

Adobe Premiere Pro CS5.5 Gripes / CS6 Wish List (perspective of an FCP switcher)

This is not a comprehensive review of Adobe Premiere CS5.5. It is just a list of negatives: my gripes, wishes, and personal preferences. Adobe has since released Premiere Pro CS6 and, to their credit, they made a number of the improvements that I was hoping for and added some excellent features.... More »

Two of Us music video shoot in Olympia, WA

Photos from the Two of Us music video shoot in Olympia, Washington…As is the case with most indie productions, our crew members had to wear many hats. Thank you to our production coordinator, Liz Conroy, for taking on the job of still photographer and supplying us with most of the images below, presented here in roughly chronological order.... More »

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