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1. Edits any format without transcoding

Not really true, because it creates “media cache files” to make the unplayable, playable in the background. Sometimes your audio and video play stuttery before lunch but when you come back it plays smooth (because it “rendered” preview files)

Not true with more than 3 cameras. For 12 cam you still have to transcode to either DNx 36-wrapped mxf’s or very low quality MPEG2’s (our COVE or proxy spec.) Relink to the originals for the online.
Also not true in a multi user or Dalet environment, you’ll have to normalize to be compatible with Dalet and media sharing with other users.

2. Warp stabalizer fixes shakey footage

In the past these shots where either deemed unusable, to be replaced or send to a time consuming and expensive Flame or After Effects session. It works in background. You have to learn what it can and can not fix.

The same tracker, used in AE can also be helpful in other ways.

3. Encoding in the background The Adobe suite includes Media Encoder (AME) an app that can take footage or edited timelines and encode for final output or proxy use in realtime in the background. You can create many versions and then work towards a final version as part of your workflow.

Keeping older versions as screeners in a collaborative environment brings out creativity and new posibilities. Gone are the days that the editor sits in a room, not to be disturbed until the cut is deemed watchable and perfected. Why not assemble the script long, then re-cut and re-think, then explore some use of b-roll etc. keeping all those versions for the whole team to watch and use.

Team members can transcribe, screen, create logs and write watching footage & cuts outside the editroom.

Here is a 3.5hr timeline with timecoded footage of one location

This file is a 1GB mp4 that can be uploaded to a transcriber, carried on a memory stick or posted on our internal network for anyone to watch like a proxy. Plays on PC or Mac.
other advantage is you don’t have to use the editroom as a screening/meeting room.

4 Ultra key greenscreen compositing and effects.

The New Year’s Celebration 2015 used to composite Julie Andrews on a background.
Ultra key is considered the best and easiest to use greenscreen tool in the business. Build into Pr.
We will use it for Reel 13 and any other greenscreen application. It opens up a new world of creative use of green & blue screen in our productions.
With a small workaround you can even use it in AE.

5 Direct link between Adobe suite apps
The idea behind it is great (link a Photoshop document or After Effects comp directly in the timeline) In reality when you link more than 4 AE comps and a few PS docs the project becomes too complicated and slows down too much to be usable. Most computers don’t have enough resources to have lots of apps & windows open at the same time. The workaround is simple: Create those documents in their own app, render out and keep replacing the file that you link too on the media drive. Or render in place, a technique that most editors used for many years.

6 Title Tool
Brings back sanity, efficiency, creativity, design.
In Pr you design lower thirds, titles and credit rolls on screen in realtime. Multiple rows, different fonts. The sky is the limit.

7 No more rendering/render in background is here!

A radical change in postproduction thinking.
When I discovered Pr’s realtime capabilities I decided to never render again.
Provided that you have a video card GPU with at least 4GB of Vram.
It gives you freedom of adjustment and rethinking. You never have to lock the GFX and wait.
A cut always flattens in realtime in the background no matter how many effects and layers you have.

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