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Post Production

I asked Shane Ramirez, our editing manager here at Media Design to relate his thoughts on the new Adobe Premiere Pro platform vs. our old version of Final Cut Pro (7). I asked him which platform he would be using for his latest project, since he was trained originally on Final Cut, and his answer was Premiere Pro CS 5.5, and with his comments, we can perhaps determine why.

Camera Support

The three levers, tilt, pan and slide plate lock, all have 6-position spring loaded lever arms allowing easy re–positioning at 60º intervals, although the latter two are not retained, so can easily be wound clean off the head. They all look readily replaceable in the event they take a fatal smack.

I have read somewhere that there is an issue with the slide plate lock lever swinging above the head plate and thus not allowing a “hippy” camera system to lock, or only with difficulty. As that lever only requires a 90º swing from full lock to off, and vice versa, and the lever arm is repositionable in 60º increments, if you can’t configure the lever arm not to swing above the head plate, you simply haven’t grasped how these levers work. This is a non-issue, and it’s simply not true.

Post Production

Dynamic Link goes one way for a given instance. But if you are using unique assets to make sure no sequences, comps, or clips — even if nested — are trying to make a round trip that would result in an endless loop (in which case the Dynamic Link with the circular reference is error-trapped and simply won’t work), then Dynamic Link has functionality in both directions. Several versions back, it was only one way. An After Effects composition could be put into Premiere Pro, but not the other direction way back when. That’s changed now though.

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