Most days I find myself in front of Adobe Premiere Pro CC, both by choice and by the jobs I’m booked on. Yes, I know, for some it’s got bugs and flaws, but for me it’s generally well-behaved. Given the choices out there, Premiere Pro feels the most natural to me for an efficient editing workflow.

Part of what makes Premiere Pro work for me is the ability to customize and fine-tune the user interface layout for the way I like to work or the tasks at hand. This is made possible by Adobe’s use of panels for the various tools and windows within the interface. These panels can float or be docked, stacked, or tabbed in a wonderfully large range of configuration possibilities. The Adobe CC applications come with a set of preset workspaces, but these can be customized and augmented as needed. I won’t belabor this post with an in-depth explanation of workspaces, because there are three very good explanations over at PremiereBro. 

It all starts with displays

I started my NLE journey with Avid and in the early days, two screens (preferably of a matching size) were essential. Bins on the left with viewers and timeline on the right. However, in the intervening years, screen resolution has greatly increased and developers have made their UIs work on dual and single-screen configurations. Often today, two screens can actually be too much. For example, if you have two side-by-side 27” (or larger) displays, the distance from the far left to the far right is pretty large. This makes your view of the record window quite a bit off-center. To counter-balance this issue, in a number of set-ups, I’ve taken to working with two different sized displays: a centered 27”, plus a smaller 20” display to the left. Sometimes I’ll have a broadcast display to the right. The left and right displays are at an angle, which means that my main working palette – the viewers and timeline – are dead-center on the display in front of me.

I also work with a laptop from time to time, as well as do some jobs in Final Cut Pro X. Generally a laptop is going to be the only available display and FCPX is well-optimized for single-screen operation. As a result, I’ve started to play around with working entirely on a single display – only occasionally using the landscape of the secondary display on my left when really needed. The more I work this way, the more I find that I can work almost entirely on one screen, if that screen offers a decent resolution.

So in order to optimize my workflow, I’ve created a number of custom Premiere Pro workspaces to serve my needs. (Click any of these images to see the enlarged view.)

Click here to read the full artical on DigitalFilms

“We believe that making virtual-reality content should be as easy as possible for creators. The acquisition of SkyBox plugins and Mettle technology allows us to deliver a more highly integrated VR editing and effects experience to the film and video community by the end of the year,” said Bill Roberts, Adobe senior director of professional video product management.

How we met

Early experimenters of 360/VR tested the waters in Adobe Premiere Pro CC and After Effects CC. We got to know this vibrant community of content pioneers and one name consistently came up: Mettle. Their collection of SkyBox plug-ins was designed exclusively for post-production in Premiere Pro and After Effects, complementing Adobe’s 360/VR cinematic production technology.

At NAB 2017, we’ll reflect on the evolution of Adobe Creative Cloud pro video tools and explore what lies ahead. You’ll be inspired by our customers and energized by our evangelists, who will talk in detail about new features and workflow enhancements.

Rob Legato – The three-time Academy Award Winner, VFX Supervisor, and 2nd Unit Director/Cameraman will talk about his visualization process and how it played a role in his work on films including The Aviator, Avatar, Shutter Island, Hugo, The Wolf of Wall Street, and The Jungle Book. Rob will be presenting Monday, April 24th at 11:30 AM.

Video Copilot – Founder Andrew Kramer will talk about the increasing demand for visual effects across multiple disciplines and how visual effects are evolving to help filmmakers tell richer stories that connect more deeply with audiences. Andrew will be presenting Monday, April 24th at 2:00 PM and Tuesday, April 25th at 2:00 PM.

Clemson Athletics – Jonathan Gantt, Director of New & Creative Media & Nik Conklin, Associate Director of New & Creative Media, will wow audiences with how they deliver high-quality social video sports coverage to Clemson’s enthusiastic fan base. Jonathan and Nik will be presenting Tuesday, April 25th at 4:30 PM and Wednesday, April 26th at 4:30 PM.

And more, find out who here.

25 years of editing innovation.

From YouTube to Hollywood, TV to the Sundance Film Festival, Premiere Pro has transformed the way we create film and video. See where Premiere started and how it’s evolved through the years. For Adobe Premiere Pro’s 25th Anniversary, take a look back at where Adobe Premiere Pro began, and how far it’s come.

Share the love. Love the share.

To achieve success, teamwork can get you there faster and easier. You’ll never have a better opportunity to get your hands on insane speed at an unprecedented price. That’s why more Adobe Premiere Pro users are turning to Avid NEXIS | PRO intelligent storage to give them the real-time collaboration, fuss-free file sharing, and competitive edge they need to succeed.

“[Avid] NEXIS | PRO gives us the collaborative power we need to share projects across a wide range of tools and staff—and complete projects in less time. Everyone feels empowered.”
LANCE HOLTE, SENIOR DIRECTOR OF POST PRODUCTION, BANDITO BROTHERS (DREAMWORKS SKG, WARNER BROS, AUDI)

Watch video on YouTube