The Situation I’m cutting a film and we are close to having the director’s cut completed. It’s 105 minutes long and fairly complex: I’m using Avid Media Composer because of its unmatched power when it comes to collaborative projects. I have 26 tracks of audio and 5 tracks of video in my timel

Adobe Premiere Pro provides users with a plethora of great tools for editing audio, including mixers, meters, effects, and panels. But remember, it’s not the tool that matters, but how you use it. Below I’m going to show you five different ways to edit audio with five particular tools inside o

I love the Alexa… and I’m an editor. It’s no secret that Arri cameras have become the standard of high-end productions across the film and television industry. Arri’s ability to produce such a high-end image, in terms of color latitude and dynamic range have secured Alexa’s dominance as

Before you dive into this article on RED workflows, you might want to check out this article on Shooting Raw. Shooting at a 4K or higher resolution can be a life-saver in the edit. Adjusting shot framing or creating coverage that wasn’t recorded on set can save a scene from the cutting room fl

Syncing production audio is one of the most tedious and time-consuming post-production tasks. Audio sync in Premiere Pro is no different. I’ve already written about my preferred method—using DaVinci Resolve’s auto-sync feature—which allows you to sync an entire day’s worth of footage in one cl

Update: this article on Color Correction in Premiere Pro was first published in May 2018. We updated it in June 2019 for Adobe CC 2019.  The mark of every great editor is a full understanding of the tools at their disposal—and the ability to use those tools to their full potential. And fe

The recent release of Adobe CC 2019 brought a major overhaul to the Essential Graphics Panel in Premiere Pro and After Effects. If you had previously dabbled with the Essential Graphics Panel but were put off by some of its shortcomings, you really need to take a second look. It can transform

In April of 2016, we launched our most ambitious integration to date: a real-time collaboration layer for Adobe Premiere Pro powered by Frame.io. Today we’re rolling out an update with over 30 new features and improvements to accelerate your video workflow without ever leaving Adobe Prem

One of our most widely-read articles is about how to speed up your exports inside of Premiere Pro. There’s a ton of useful information there, most notably how to use Smart Rendering. But one big question many readers have asked is how to take advantage of Smart Rendering alongside the F

Editor’s note: Thanks to our friends at Red Digital Cinema, Adobe, and Mixing Light for sharing their expertise for this article and the Frame.io Workflow Guide. If you’ve ever been cutting a sequence and thought “this footage looked different on my other computer,” or sent footage off for VFX

The relationship between Adobe Premiere Pro and DaVinci Resolve is complicated. These powerful tools complement each other wonderfully but are constantly competing to steal each other’s lunch.  This complicated relationship is a good thing, as it opens up a plethora of technical and

Remote post-production is fast becoming a viable (and sometimes preferable) workflow for many teams these days. With the prevalence of high-speed internet and an abundance of robust software tools, it’s now easier than ever to work with your teams from almost anywhere. Today we’re explor

We’ve all been there before; the network goes down, your workstation won’t boot, or your NLE of choice crashes every time you right-click, and suddenly your workday comes to a screeching halt. Or at the least, Premiere Pro’s playback gets choppy and stuttery. And if this hasn’t happened

Just like editors, colorists have different sets of rules and requirements, but they all want the same thing as the rest of us – a simpler life. Building your reputation as an editor who makes things easier for the colorist will help to build stronger relationships that can only benefit

If you’re unsure about Premiere Pro’s Maximum Render Quality (MRQ) and Maximum Bit Depth (MBD) settings, you’re not alone. It’s pretty complicated stuff, and it doesn’t help the official documentation can be hard to find. So why do we see these in both Sequence Settings and in Export Settings?

Film visuals are like restaurant food: the chef gets all the praise while the rest of the back-of-house toils away unseen.But just as the best meal will go uneaten if it’s served on a dirty plate, your project will go to waste if you serve it on a grubby audio bed (Tenet anyone?)A proper audio

If you watched the launch videos at Adobe MAX 2020 you probably noticed a few trends forming during the product demos. Mobile and social were (and always will be) focal points, but Artificial Intelligence (AI) and Machine Learning (ML)—or Sensei as Adobe has chosen to brand them—took the stage

Ask an editor “what do you want more of?” and their response is likely to be a hoarsely whispered “Time…I just need more time.” That’s assuming that they look up from the monitor for long enough to hear you ask the question in the first place. Sadly, there’s not much I can do to move tha

As a video editor, I tend to stay within the relative safety of Premiere Pro when it comes to audio post, and I don’t think I’m alone in this. Premiere Pro can easily handle a lot of common audio work that used to require a fully-fledged audio workstation. And that’s great for video edit

After reading some posts, especially on the Premiere Pro user forum and in Facebook groups about Premiere Pro, I realized that Dynamic Link is being underutilized because of the problems some people have. Users were experiencing After Effects compositions (comps) going offline, having to re-li