Over the last couple of years, I have made mention a number of times to how the ripper little Blackmagic Design ATEM Mini Pro has the ability to replace the equipment that was used to create the Microsoft office and Windows 95 training videos I wrote and directed.
One thing I have not stressed enough though I suspect, is that whilst the ability to include downstream and upstream keys, switch between 4 video and 2 audio inputs, store up to 20 online graphics (titles, lower 3rd etc), control cameras and mix audio amongst other things, the major thing is this can be done in a live broadcast as well as recording a session to an SSD for later playback.
So, I thought it might be interesting to describe that process to give a better idea of the workflow. I have set up a sample session to mimic a live broadcast. Equipment consists of a Blackmagic Pocket Cinema Camera 6K Pro and a GoPro 9 and GoPro 10 (inside Media Mods to get the HDMI connectivity) for vision input on HDMI ports 2-4, my desktop giving input to HDMI 1 and a single Sennheiser MKE600 for audio input.
I have created a number of lower 3rds and some graphics with transparency in Adobe Photoshop and pre-loaded them into the Media Pool of the Blackmagic Design ATEM Mini Pro.
I have set it so that a live broadcast via Facebook Live is in place via the Ethernet port, and the session is also being recorded to a Samsung T5 connected to the ATEM Mini Pro USB-C port. To set the stream up, here are the steps:
Got to your Facebook page and create a new post
From the post options, choose Live Video (the left option)
Select an option from the Welcome list (I chose the first) and then click Get Started
As we are using the ATEM software, choose the Streaming Software option and then click Next
The wizard will tell you that you can add an optional title and description. Click Next
You can now add a title and description
Copy the Stream key then generated from Facebook into the key setting in the ATEM Software Control’s live stream option.
Click On Air in the ATEM software and after a few seconds, Facebook will display the live stream.
The sequence I will use to demonstrate the basics of the workflow are:
Opening graphic from desktop
Set Cam 4 as preview and load lower 3rd title
Switch to desktop showing ATEM software Main Panel
Switch to Cam 3
Switch to ATEM software showing Camera Control panel
Switch to Cam 2 with different lower 3rd title
Switch to Closing Graphic
As mentioned, to create the full screen graphics, I used Adobe Photoshop. Similarly, the lower 3rds were also created here but instead of saving as a PNG with alpha channels, the ATEM Control software comes with a nifty bult in plugin that is installed into Photoshop when you install the ATEM Control software. This allows you to export directly from Photoshop straight into the Media pool of the ATEM Control software and creates the image with all the right parameters.
And I have finally found a use for Powerpoint! Just kidding, there are many slide show apps you could use for this, but if you have Powerpoint anyway, you may as well use it. I just created a slide show of four slides – the opening and closing images and the two screen shots of the ATEM Control software. I manually stepped through the slides as needed when they were displayed on my second monitor acting as HDMI 1 on the ATEM Mini Pro.
When I started playing the sequence and controlling the vision with the ATEM Mini Pro, it was all recorded onto a Samsung T5 SSD connected to the ATEM Mini Pro’s USB-C port. Of course, it you were going live via say Skye, Teams or Zoom, the USB-C port is connected to the PC if you want the ATEM Mini Pro to act as a pseudo webcam.
Simple! And versatile.
This is a very basic demonstration of using the ATEM Mini Pro in conjunction with the ATEM Control software, but you get the idea of what can be done. There are many other things you could do to enhance it – obviously I didn’t catch any audio and next time I will record an audio dialogue explaining what I am doing as well. I also used simple auto fades as transitions, but I could have used any of the built in DVEs of the ATEM Mini Pro in conjunction with those in the ATEM Control software. Similarly, the duration of the transition was left at the default, but I could have controlled that too if I’d wanted.
If you wanted to stick to exact timing, say you wanted to intersperse sponsor graphics between sections for an exact period, you could use macros for this – and any other operation for that matter.
To give you an idea of the breadth of the functionality of the ATEM Mini Pro, the English language section of the manual is 148 pages! I have had my unit now for getting on for 2 years and I am still finding out things of which it is capable.
The latest release of Adobe After Effects is now shipping with new features to address the needs of modern motion designers. Highlights include Selectable Track Mattes, which make working with mattes dramatically easier while also keeping compositions smaller. Native H.264 encoding gives users the option to export files directly from After Effects. We’re also including over 50 new presets created by professional designers to accelerate common creative tasks. Everything in this release, as well as features now in public Beta, is based on feedback from the After Effects community.
Selectable Track Mattes
Matte layers define areas of transparency within a design, allowing users to combine visual elements with precision. Previously, motion designers had to create individual mattes for each layer to be matted, making compositions more difficult to manage. Now, with Selectable Track Mattes, users can apply one matte to as many layers as they want, regardless of where each layer sits in the layer stack. This makes it easier to edit mattes and make global changes, resulting in faster workflows with fewer layers.
Over 50 new Presets for faster animation workflows
Great motion design can require detailed work, often involving repeated steps. Presets help users save time by providing building blocks for common tasks. The new release introduces over 50 new animation presets, built by professionals and designed to make day-to-day tasks easier. They include fun, flexible animations for text, animated elements like map pins, convenient design elements like a 2D text box, and more.
Native H.264 encoding
New hardware-accelerated native H.264 encoding lets users export H.264 files directly from After Effects. Depending on the project and available resources, motion designers can export right out of After Effects or offload the task to Adobe Media Encoder so they can continue working on their compositions while exports are in progress.
Focused keyframe navigation
Perfecting an animation requires reviewing keyframes and making fine adjustments until the desired result is achieved. Keyboard shortcuts allow motion designers to navigate keyframes efficiently and new commands now allow users to focus on the keyframes for specific properties or layers. At any time, the user can switch back to navigating all of the visible properties or layers in their animation using the existing commands.
200 percent faster template performance in Premiere Pro
Premiere Pro now supports multi-frame rendering of animated title and motion graphic templates (MOGRTs) from After Effects. This improves preview playback and render performance by 200 percent or more, depending on the template and the user’s system.
More user-requested features in public Beta
We’ve also introduced a few more features in After Effects Beta
3D Model Import (Beta) is for motion designers who need to combine 2D and 3D assets in their compositions. With this functionality, users can Import 3D models into their projects without requiring third-party plugins.
Context sensitive Properties Panel (Beta) shows you only the controls you need to edit the currently selected item. That means you spend less time twirling through layer hierarchies or opening different panels and more time creating.
OpenColorIO and ACES color management (Beta) allows users to work at the highest levels of image quality throughout their pipeline using OpenColorIO color management, including Academy Color Encoding System (ACES) workflows.
Install the latest release of After Effects now from the Creative Cloud desktop application.
Adobe has announced at Adobe MAX the expansion of collaboration tools within Adobe Creative Cloud and Document Cloud, enabling new workflows that will empower creators to meet ever-growing content demands across multiple platforms. Content now fuels the global economy, and the rise of remote work means more content is being created by distributed teams, making seamless collaboration critical to delivering content with speed and scale.
According to a recent Adobe study, more than 165 million people have joined the Creator Economy since 2020, and roughly one in four people are contributing photography, videography, creative writing and other digital content. As many creators now have the flexibility to work remotely, they expect their tools to enable collaboration with their stakeholders and organizations, whether they are in the same room or halfway across the world.
“Creativity today is a team sport. To deliver a successful project on deadline, a team needs to share everything from creative inspiration to assets to feedback,” said Scott Belsky, chief product officer and executive vice president, Creative Cloud at Adobe. “The innovations we’re announcing today enable seamless collaboration throughout the creative process.”
Photoshop and Illustrator Introduce New Share for Review Collaboration Capabilities
Incorporating stakeholder feedback is key to delivering successful projects, and designers want to easily and seamlessly manage what they share with stakeholders during the review process. Now available in beta for Adobe Photoshop and Illustrator, Share for Review (beta) eliminates the tedium and inefficiency of the review and feedback process while providing creators with full control over what they share and with whom:
Share for Review allows creators to share a version-specific link to a Photoshop or Illustrator file, then see reviewers’ comments and conversations automatically flow back into their app, eliminating the need to juggle between tools to address feedback.
Creative teams can use Share for Review to complete work faster and with greater creative control, deciding which version of a file to share and when to push changes.
Collaborators do not need to sign up or sign in to comment.
Reviewers can highlight, pin and make comments on specific parts of images or illustrations.
Adobe Previews World’s First Camera to Cloud Integration With RED and Fujifilm
Now used globally by more than 5,000 productions, Adobe Camera to Cloud (powered by Frame.io) ignited the transition from external drives to cloud-based camera workflows, and fundamentally changed the way video is created. Today, Adobe is previewing new Camera to Cloud integrations built into RED Digital Cinema’s V-RAPTOR and V-RAPTOR XL camera systems and Fujifilm’s X-H2S mirrorless digital cameras to further revolutionize collaboration in production workflows.
Adobe’s first-to-market Camera to Cloud technology enables production teams to automatically transfer media from the production set to the cloud, letting the post-production team start work on the footage immediately. The newly announced Adobe Camera to Cloud integrations further streamline the process by transferring media directly from cameras to organized Frame.io folder structures, without the need for intermediate devices, saving both production costs and time. This new in-camera evolution is anticipated to become a standard within the next decade.
“The RED team is proud to build on our history of working with Frame.io, becoming the first cinema camera company to bring this groundbreaking advancement to the filmmaking community,” said Jarred Land, president and co-owner of RED Digital Cinema. “As we introduce this technology to deliver direct RAW and proxy files directly to edit via the cloud, we are excited for users to start unlocking the benefits that cloud collaboration can bring to productions at all levels.”
“Natively integrating Adobe’s Camera to Cloud with Fujifilm’s X-H2S mirrorless cameras removes a huge time barrier between production and post for photographers and videographers,” said Masato Yamamoto, general manager, Imaging Solutions Div. at FUJIFILM Corporation. “It’s not just ground-breaking, it’s game changing. We’re honored to bring this technology to mirrorless digital camera users around the world, and we’re excited to see what comes next.”
More PDF Collaboration and Productivity
PDF has been the standard for document-based collaboration for decades. Over the last year alone, users opened 50% of PDFs in Acrobat on mobile and web devices than the year prior and Adobe processed over eight billion digital signatures. Today, Adobe is announcing improvements to how users collaborate in digital documents, including an all-new viewer that streamlines access to Acrobat tools for collaboratively creating, editing, e-signing and reviewing PDFs, plus Core Accessibility enhancements, including Read out Loud and High Contrast support, that will enable more team members to comfortably participate in collaborative projects.
As interest in virtual work and the opportunity to leverage virtual and augmented reality to improve collaboration continues to expand, Adobe is developing Acrobat for Meta Quest, enabling users to fully use PDF documents within virtual and augmented productivity spaces. In addition to enabling PDF viewing, editing, converting, compressing and sharing, Acrobat for Meta Quest will support collaboration through commenting, highlighting and drawing – the same Acrobat features people love on the web are coming next year to immersive mixed reality.
The newly announced features and integrations add to Adobe’s powerful existing collaboration features and tools, including:
Frame.io for Creative Cloud, the industry’s first post-production review and approval workflow directly integrated with Premiere Pro and After Effects, which allows key stakeholders (editors, producers, agencies and clients) to collaborate seamlessly in the cloud, reaching final approval faster and easier than before.
Collaborate across teams or across the globe, with Adobe Workfront. Teams and stakeholders can work seamlessly together to plan, produce and deliver projects in real time, whether they are across the office or across the ocean.
Adobe has announced at Adobe MAX new innovations in Photoshop that make the world’s most advanced image editing application even smarter, more collaborative and easier to use across surfaces. Share for Review (beta) enables users to conveniently collaborate on projects without leaving Photoshop, and new features make editing images in a browser far more powerful. Additionally, the flagship Photoshop desktop app adds breakthrough features powered by Adobe Sensei AI, including selection improvements that enhance the accuracy and quality of selections, and a one-click Delete and Fill tool to remove and replace objects in images with a single action.
“In a world where everyone can be a creator, Adobe is ensuring that Photoshop evolves to serve all creators across platforms and devices,” said Scott Belsky, chief product officer and executive vice president, Creative Cloud at Adobe. “This year, we’ve made Photoshop smarter and more collaborative so you can easily get feedback and create spectacular images even faster.”
Seamless collaboration has become critical for creative workflows in today’s increasingly digital economy. Supporting collaborative work from anywhere, the new version of Photoshop introduces Share for Review, enabling convenient collaboration between creators and stakeholders: All feedback is managed and incorporated directly within the Photoshop app.
This new feature lets creatives easily share a preferred version of their work in the form of a web link. Collaborators can review the project and comment right in their browser, even without a Creative Cloud subscription. Whether creators are sharing work for stakeholder review, or collaborating with their coworkers, Share for Review syncs comments across devices, and works wherever users do – at the office, at home or on the go.
AI Innovations Make Creation Faster, Easier and More Powerful
New AI features launching today in Photoshop include:
Selection improvements that enable users to hover over, detect and make detailed selections of complex objects with a single click, creating higher quality and more accurate selections of elements such as skies, foregrounds, subjects and hair, while preserving detailed edges.
One-Click Delete and Fill selects and removes objects from images, filling the removed area using content-aware fill, in a single action in Photoshop on the web.
Photo Restoration Neural Filter (beta) helps Photoshop on the web users bring old or damaged photos back to life, using machine learning to intelligently eliminate scratches and other minor imperfections on old photographs.
Remove Background is now available in Photoshop on the web (beta), enabling one-click background removal.
Masking and Brushing are also now available in Photoshop on the web (beta) and make precise adjustments faster and easier from a web browser.
Photoshop and Lightroom AI image-editing features were used over 1.3 billion times in the past year. These innovative tools power mundane Photoshop tasks, such as selecting detailed objects, changing a person’s expression or removing blemishes from a portrait. By simplifying complexity and speeding up time-consuming processes, Neural Filters and other AI-powered features give Photoshop users more time to do what they love – create.
Improved Multi-Surface Experiences
Photoshop delivers an approachable and intuitive experience across desktops, iPads and browsers, enabling creators to work wherever and whenever inspiration strikes. Photoshop on the iPad continues evolving to ease creation on tablets. iPad users gain access to Photoshop’s powerful one-tap Content-Aware Fill and Remove Background features, using AI to accurately replace unwanted elements in photos so creators and editors can work faster.
In our quest to find the perfect – or as near to perfect as possible – clip manager to catalogue and tag the thousands of video files, stills and images we have created, shot or otherwise obtained over the years, our journey took us to Kyno, available for both the Mac and the PC.
At AUD$229 to buy with one year of updates and licences for three computers (for one person), it is not a deal breaker for the individual by a long shot; a “premium” version for the corporate types is still only AUD$509 (again for one year). Updates after this period are at your discretion and are AUD$115 and AUD$245 respectively per annum.
The main interface is like the usual File Manager / Finder style work area with a Devices section showing all of your internal hard drives, external USB drives, plugged in SD cards and the like plus an extra section for Jobs.
The Workspace area is automatically set up – under Windows it is your username but can be any folder you also wish to drag in to that section.
Jobs contains all the current background tasks Kyno is running.
When you select a folder in devices, you can display files by either thumbnail, list or detail. Thumbnail is the default, List displays all the details of all files in a list mode and Detail shows a single file inside Kyno’s own video player. A filter button lets you select exactly which files are to be displayed.
A nice touch is to filter by file modification, useful for those who don’t remove files from SD cards or you are not one of those who clean up files very often.
A second button lets you sort by different criteria, and we found that the list view is the best way to use this option, letting you see the sorting options much more clearly, such as clip length for example.
Detail mode is the most – well – detailed, with not only the ability to play clips, but display all of the metadata attached to a file. You can also transcode or export a file from Detail view and perform various other options from a drop-down menu.
On the right-hand side of the clip player, there is a separate tabbed section. The Metadata tab lets you add your own metadata such as a description, date shot, take number, angle, camera used and any tags you’d like to apply to the clip. The Content tab shows a visual multiple thumbnail overview of the clip’s content. The SubClip tab shows any subclips you have created from this clip and the Tracks tab contains metadata from the tracks in the file. Finally, the Histogram tab shows the clip’s Histogram in real time as the clip is played.
Note that subclips are only shown AFTER they are defined in Kyno, not ones you have created in your NLE. Bummer but there you go. (But I understand the limitation subclips in NLEs offer making this option almost impossible)
One nice touch is that when an SD card is inserted, it is automatically detected and when opened, is in a “drill down” mode meaning that all files on the card are displayed, not just the ones in the root directory. For those unfamiliar with folder hierarchies on SD cards, this saves a whole lot of clicking around to find the files you are after.
The “drill down” mode can actually be added to any device or folder listed in Devices if you wish, which is a major bonus.
Files can be renamed either individually or in a batch mode using presets, and the destination of renamed files changed to a folder you designate. This alone I reckon is worth the price of Kyno!
The clip player in Kyno is pretty straightforward with a few extra features. In and out points can be set, and you can enable looping between these when playing back in the player. You can also zoom into a clip using the mouse or trackpad to check the quality of your footage.
If shooting slo–mo footage, the player can be set to play back the footage at your final project settings. Eg if you have shot footage at 120p, you can play it back at 24fps to see exactly how it will look.
You also have a zebra and wide screen filter available to check footage. Markers can be set with titles and descriptive text and then used as navigated points, mark issues, still points to export and much more.
Transcoding (converting) couldn’t be easier. Simply select a file or files, right click and choose convert form the drop down menu and select a preset. Presets are listed in different categories making it nice and easy to choose the one you want. Transcoding works in the background.
Once you have chosen to transcode a file or files, these will then appear in the jobs section of the workspace. If you have set in and out points in a clip, these will be honoured during the transcoding process and the file trimmed accordingly.
I found this useful for GoPro recordings especially, where there is a lot of “head and tail” footage you don’t want.
Output folders and filenames sent for transcoding can all be individually specified.
Just the basics alone mean Kyno is super powerful, but there is other stuff too. You can create export lists of files with timecodes, marker points and subclip info included directly from Kyno into Excel format so that another editor can quickly go through the clip to quickly find the points referenced, and there is a client reporting section built right in for example.
A BIG feature in my book is the ability to select a clip, whether it be image or video, complete with any meta tags, and send it straight to either Photoshop for editing or into the media pool of Blackmagic DaVinci Resolve. You can also play back clips in Kyno that have been encoded with Blackmagic RAW.
This feature alone is a damn fine reason to switch to DaVinci Resolve or of course, Adobe Creative Cloud if your prefer that workflow style.
If you are an AVID Media Composer user with Kyno 1.8 Premium Edition, Avid Media Composer workflows are supported through ALE export as well as copy and paste for markers between Kyno and Media Composer.
As always, we recommend that you download and have a play with the trial version of Kyno and see how it fits in with your workflow.
For the social media / videoblog folk, I suspect the freebie MYNC is more than is necessary, but if you need a bit more – or a lot more – grunt that this offers, Kyno is a well-constructed, easy to learn and use and extremely powerful piece of software for clip management with a very affordable price tag.
Adobe has announced Photoshop Elements 2023 and Premiere Elements 2023, including all-new features the company says makes creative photo and video editing simple for users at any skill level. The new releases incorporate new Adobe Sensei AI-powered features to enable intuitive, streamlined editing, and offer step-by-step Guided Edits that everyone from beginners to advanced users will appreciate. Going beyond the desktop app, Elements 2023 also offers a connected experience with new web and mobile companion apps (English-only beta) that ease on-the-go photo and video access, viewing and sharing.
“We believe everyone should be able to create anything they imagine,” said Ashley Still, senior vice president, digital media marketing, strategy & global partnerships at Adobe. “With Photoshop Elements and Premiere Elements, anyone can bring their creative visions to life in new ways with AI-powered editing, hands-on learning content and the flexibility to enjoy their creative content from any location.”
Whether consumers want to make quick editing adjustments or explore advanced artistic options, Photoshop Elements and Premiere Elements dramatically simplify the creation and sharing of inspiring visual content. Some of the many innovative new features in Elements 2023 include:
AI advancements for photos and videos let you add Moving Elements to photos, so you can bring a touch of movie magic to waterfalls, clouds and backgrounds in still images, then save in social-ready formats including MP4 (videos) and GIFs (animated photos); Artistic Effects inspired by popular art styles let you transform entire video clips with one click.
Take photos to the next level with updated creative content including new backgrounds, patterns and skies.
Use new collage and slideshow templates to showcase your photos in fun ways.
Create with Peek-through Overlays to create the illusion of depth in photos.
Choose the perfect soundtrack for everything from home movies to class projects with 100 new audio tracks in Premiere Elements.
Enjoy enhanced performance and stability, with up to 35% faster installation, 50% faster launch times, a 48% reduction in app size and up to 70% faster launch times on Apple M1-powered Mac computers.
Enjoy on-the-go access to your photos and videos by using the new mobile companion app (English-only beta) to upload to the cloud, streamlining your creation and editing of photos and videos on the desktop.
Do more from any browser by using the new web companion app (English-only beta) to share and view edited photos and videos, and create photo collages and multimedia slideshows.
At A Glance
Edit with the power of AI. Add motion, effects, and overlays. View via web and mobile.*
New Features and Benefits
NEW Select an area and make it move
Bring a touch of movie magic to any photo by selecting an area and adding motion. Choose the direction, adjust the speed, and then save your photo as an MP4 or GIF to share on social.
NEW Click once to turn your videos into art
Transform your clips with effects inspired by famous works of art or popular art styles. Just like with Photoshop Elements, you can click to add an amazing artistic effect.
UPDATE Easily build your skills with Guided Edits
Just follow along to make basic adjustments, artistic creations, visual effects, and more with 87 step-by-step Guided Edits. Here’s what’s new:
• NEW Add peek-through overlays to photos
Create the illusion of depth in any photo by framing your subject with natural and realistic overlays such as flowers, leaves, grass, and more. Easily resize, adjust blur, or add a vignette to get just the look you want.
• UPDATE Edit photos with new modern content
Try fresh looks for your photos with new backgrounds in the Replace Background Guided Edit, new skies in the Perfect Landscape Guided Edit, and new patterns in the Pattern Brush Guided Edit.
• NEW Quickly search and explore Guided Edit photo options
Easily find what you want to do with your photos or discover new things to try by searching on familiar terms, using keyword tags, or choosing from popular options.
UPDATETry out great audio tracks
The perfect video needs the perfect soundtrack. Create just the feel you want with over 100 fresh new audio tracks.
UPDATE Tell stories with all-new collage and slideshow templates
Create photo collages and multimedia slideshows that feature a range of modern looks and themes.
NEW Experience better performance and stability
Enjoy up to 35% faster installation and up to 50% faster launch times. And since we’ve reduced the app size by up to 48%, less space is required on your computer.
NEW Apple M1 chip support
With full support for Apple M1 chip systems, you’ll enjoy up to 70% faster launch times and performance on Mac computers.
NEW Do more from any browser (English-only beta)
Explore the new web companion app to access and view your edited Elements photos and videos from any browser, create collages and slideshows, and share the way you like.
NEW Have fun with your photos on the go (English-only beta)
Try the new Android companion app to upload mobile photos and videos to Elements on desktop and web, do more creative and advanced editing on the desktop, and then access, view, and share back on your mobile.
NEW Enjoy ongoing companion app updates and included storage (English-only beta)
The web and mobile beta apps are just the beginning—they’ll be updated throughout the year with new features. The apps are available to licensed Elements users and they come with 2GB of cloud storage.
I haven’t seen any details on pricing as yet and will advise as soon as I have that info. I will also hopefully have review copies shortly and be able to give a personal oinion of both packages.
Want to create a misty forrest, moody underwater scene or a dazzling sunrise or sunset?
Well then Trapcode Shine is just for you.Trapcode Shine is a plugin for Premiere Oro that the makers say “brings light and life into your motion graphics and visual effects” This tutorial takes you through a typical Trapcode Shine session as an introduction to what the plugin is capable of.
Although probably impossible to prove, it is more than likely the most popular and widely used NLE is Adobe Premiere Pro.
If you look through the various forums on video editing programs however, any number of people will tell you that they will not use it as they do not want to get roped into the Adobe eco-verse of subscription payments as against owning their software outright.
Fair enough. It’s also fair to say that the way an NLE operates is very important to the way your personal workflow is setup. In my case, for more than 10 years I have been using Vegas Pro, and only recently switched to DaVinci Resolve for major projects. I still use Vegas Pro for quick and dirty stuff though as I can bang out a 30 second clip in just a few minutes.
But even the paid Studio version of Resolve is incredible value for money for what it is capable of, especially if, as I do, you also get the Speed Editor editing console.
Before Vegas I did use Premiere Pro though, and in fact its fair to say I learnt digital editing via that program, before that being mainly analogue based.
So, it is hard for me too to justify the Creative Cloud subscription for Premiere Pro at around 40 bucks a month. And if that is all there was in the “people versus Premiere Pro” argument pool, that would be the end of that.
But it isn’t, is it? And this is the bit that more often than not is precluded from the Premiere Pro vs the rest subscription argument.
$40 a month for Premiere Pro as I say, I cannot justify. But $80 a month for a subscription that includes Photoshop, Illustrator and After Effects with InDesign thrown in I certainly could if I was a serious editor.
Sure, Bridge I would not use (Kyno is my app of choice for asset management) and Rush doesn’t work on my mobile devices so there is a no point there either.
But to your serious video editor, Photoshop and After Effects are almost indispensable.
So my tip is certainly keep using the NLE of your choice. That really does not affect things in the greater scheme.
$79.99 per month (or $871 on an annual basis) I would have thought is an easy choice to make though for the benefits the other apps give you?
Of course, if you have never used Premiere Pro, you might turn out to be surprised how good it actually is. And the very tight integration between all of the Creative Cloud apps is an added bonus, being a great time saver as well as enabling a fantastic workflow.
If you have never used After Effects, then frankly, you do not know what you are missing! You can get a trial of it and have a play. Grab some tutorials and run through them. While initially you may have NO idea what you are doing, you’ll soon pick up the concept and probably think of a million things you could use it for and a few million more you COULD have used it for!
Get the trial After Effects here. And have a look at your first tutorial here.