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♪ [Switching to Adobe Premiere Pro CS5] [Overview] Hi, I'm Karl Soule. I've been working with Premier Pro for a number of years now. And I'm Kevin Monahan, long time Final Cut Pro editor, and times have changed; I'm looking to make the switch to Premier. So Karl, I just need a little bit of help getting started. >>Breathe in. >>Okay. >>Breathe out. Okay, a couple deep breaths. I think what you're going to find is the similarities far away the differences, but I know there's a lot of little things that can really hang up somebody who's trying to make the switch. Okay, well, the first thing I've got to know is I have an idea why I want to change to Premiere, but can you show me some of the big things that I need to know before I get into this? >>Absolutely. Well, we're hearing this from a lot of people because of the new playback engine inside of Premiere Pro CS5. Mercury, right? >>Mercury playback engine is what we've been calling it. And some of the benefits from it-- Premiere Pro works natively with a lot of different footage, everything from AVC-Intra, RED footage, DSLR footage. You can just drag it and drop it right on the timeline and just have a playback. It doesn't have to be rewrapped or transcoated or anything. So that's a huge timesaver for a lot of people. The other thing is just the power of the playback engine. It's multicore optimized. It's not only multithreaded, but it actually will split threads. On the Mac it uses the grand central dispatch technology to make sure that all the cores in the system are being utilized. So if you have an A core system and you're kind of used to having maybe just one or two of those cores actually being used for editing, Premiere Pro makes a big difference. This is just a quick example that I have thrown up here in Premiere Pro. This is a 10-layer sequence. All of these clips are--it's kind of a mix and match of HD footage. Some of this is P2 footage. Some of it is AVC-Intra. Some of it is from a Canon 5D Mark II. And again, I can just hit 'play' on this timeline. Nothing has to be pre-rendered to be able to playback this footage in real time. Even the key here? Even the key. >>Wow. >>The key is actually all happening in real time. And if I want to go in and make some changes to this, maybe-- in fact, let's go in and I've got the effect controls open here. If I wanted to just adjust the brightness or the contrast on this keyed clip here, I can do all those changes, and again, I can immediately hit play and the engine gets up to speed there and I can see it play back at full frame rate. So again, I don't have to wait for things to render. That's pretty awesome. Now, this image looks fairly good. Am I playing back at full resolution with all these layers here? Yeah, actually, on this system, this is an A core, Mac Pro tower that we're playing off of. This is playing back at full resolution, full-frame output. We've got it up on the monitor there. I've got it here. Premiere does have a little trick for people that want to run it at a lower resolution. >>Oh, okay. If you're running on a laptop system, maybe you don't have this power, there's a way that you can continue to edit, and it will actually run the display at like a half res or quarter res so that you can get smooth playback. How do I switch that? It's a little right-click in the program monitor. I can change playback resolution there. So there you can see we're playing this back at full resolution, and there's also a setting for a pause resolution if you need to look at fine detail when you're paused on a frame. Oh, like if you're adjusting a key or something like that? >>Exactly. Now, I notice that there are a couple that are grayed out there. Why didn't it go down to a quarter--is there any reason for that? It depends on what resolution you're working at. Most people, you're not going to need to get down into eighth res or sixteenth res when you're working with-- this timeline is a DVC Pro HD timeline. That's more for people who are editing on RED footage. >>Oh, I see. You're talking about 4K, 5K footage, which you can do; you can bring it in natively. But playback, even on an A core system, that's a lot of pixels to decode. Right. Right. Okay, just looking at the interface here, I see a lot of similar things. I see you've got a project window to the left there. That's normal, I found out here. This is probably the source monitor here. We've got the record monitor to the right there--timeline. That all looks pretty familiar to me. But down here, I don't know what this thing is here. Could you please explain that to me? This is the media browser. The media browser is a way of looking at clips before you go and add them to your project. Oh, that's nice. So here I've got a bunch of folders with a bunch of different types of footage. Here you can see our 3D files from a RED camera, DVC Pro, AVC-Intra, even DPX sequences. Okay, so I know that in final cut, to play DPX sequences, I'm going to need a lot of horsepower, and I'm going to need an expensive plug-in. So you're telling me I can play DPX off the timeline? Right off the timeline. In fact, they act just any other video clip. I can take the first frame in my DPX sequence, and you can see it loads up here in my source monitor, then I can go through and scrub through this and play it back. >>Oh, pretty cool, man. So once you have the footage that you're looking for, you want to add this to your project, all you have to do is take it and you can drag it and drop it into your project bin, but you also have the ability to just take it and you can actually drop this DPX sequence right on my timeline if I wanted to. And in this case, it's going to add now a twelfth layer here, and I can then take this clip-- Scale it down and play those twelve layers? Scale it down and now I've got another layer added on top of my project here. >>That's pretty crazy. The thing I don't see in the interface here that I'm looking for is my tools. I don't see my tools anywhere. Well, Premiere actually takes the tools and it tries-- and this is something kind of interesting you brought this up, because in CS4, and earlier versions, we did actually put them kind of in the same places where Final Cut Pro keeps the tools--down over next to the timeline. But a lot of people asked about keeping them more in line with the way After Effects is set up, and in After Effects, they're all at the top. So you see up here-- >>Okay, they're up there. The great thing about Premiere Pro, the user interface is completely customizable, so if I did want to move this down and have it share the real estate with my audio monitors here, there's a little set of dots. And you'll see these dots kind of in the upper-left corner of most of the panels. So if I want to pick up and move a panel, I just grab it by the dots, and you'll see here it's actually broken it out as a separate panel for me. Or I can take this, and as I move this around, you'll notice that I'm getting this weird kind of purple color here. So what this is saying is if I want to have it nest in the same real estate, I drop it in the middle, but if I want to have it create a new area above or below or left or right of an area, I take it and I drop it in that appropriate area, and it's going to automatically do that. So in this case, if I want to have the share real estate, I just take it and drag it here. And now, I actually have two different tabs, which you can see here I can switch between the audio master here. Now that's not what you typically see in Final Cut, though, right? No, you see them one on top of the other. The tools will be on top, and the audio meters usually float on the bottom. Okay, so what I can do is take this and you want the tools on the top? >>Yeah. Or if you want the tools on the bottom, I can do that. That's very sweet. So I assume you can do this with any of the windows here? Any of the panels, and if you start getting lost--and there are times where I've accidentally taken this panel and dropped it on top of my timeline, for example. If something bad happens, where you've gone in and you've changed something and you say, "Whoa, wait a minute. This is not what I want," it's easy enough to come up to the workspace here and just say "reset the current workspace," and it's going to of course ask you if you want to do that. And once you do that, everything goes back to the way it was. Okay, phew. [Laughter] That scared me for a minute there. Wow, just a lot here already. Well, we've got a lot more to cover, so we've got a lot more videos coming and hopefully you guys will enjoy the rest of these videos as we go through this entire series on tips and tricks on how to switch from Final Cut Pro over to Premiere Pro. Thank you, Kevin. >>Thanks, man. [♪ upbeat music ♪][ADOBE TV Productions}
