By now you’ve heard that Wes Plate has joined the Adobe Product Marketing Team. For those who might not know exactly who this guy is, he’s been “the guy” in the industry for years who has made various production tools talk to each other. And not just a simple, “move parts of my projects into something else,” but help the apps talk to each other in a way that brought about very meaningful creative collaborations between artists no matter how what they used.
For instance, when I doing all the HD Post for the Food Network’s “Good Eats,” the shows were first cut in Alton Brown’s facility on his Avid system and then we used the Automatic Duck converter to bring the edits into my Final Cut Pro system. This was an almost seamless transfer between the two competing NLEs that allowed Alton’s editor to continue using her NLE of choice and for me to use my NLE of choice, but to work together. The only things I really had to re-create were the graphics and the transitions and of course I re-did the entire color grading for HD.
So now Adobe snags Wes to join their team right after they snagged IRIDAS and their SpeedGrade color grading tool. I personally thing grabbing Wes is an even bigger grab for the company.
If you have used the Adobe CS 5 suite (or 5.5) you know how incredible the dynamic link option is between Premiere Pro and After Effects. Someone like Wes can bring dynamic link to a whole new level. Imagine that dynamic link type of performance between all of the apps essentially make Premiere Pro the render engine for the entire suite. So you would create your base edit in Premiere Pro and then dynamic link your material out to all the other elements of the suite but do your final renders back in Premiere Pro.
In particular, I’m hoping Wes joining the team could mean that we’ll see a dynamic link workflow for SpeedGrade. The Send To feature in Final Cut Pro was sweet for color grading, but to keep going back and forth without committing to a final render until everything is approved could be very sweet.
Also, I would expect very nice tight integration with external apps like ProTools. And as Adobe has already done on their own with the FCP XML reader, Wes will most likely create easier paths for external apps to work with Adobe’s suite.
In other words, you see Adobe not only purchasing incredible apps to make their incredible Creative Suite even better, the addition of Wes Plate also signals the company’s willingness to create bridges around their suite rather than walls. Just another of the great moves Adobe has been making these past few months.
At the urging of a friend, I got back to work on these Transitioning videos as he is now jumping into the Adobe Premiere Pro application.
As I’ve noted in my blogs, for the Final Cut Pro editor migrating over to Adobe Premiere Pro CS 5.5, the transition really could not be much easier. I often refer to PPro as “Final Cut Pro 8″ because it feels like the natural progression from FCP 7.
But there are a few quirks within the application that will drive you absolutely bonkers. So before you pull your hair out and start swearing up a blue streak, here’s a few of the “gotchas” that got me and how to avoid them.
One great thing about Adobe is that they ARE listening to feedback. So if you would like to offer input as Adobe prepares CS6, be sure to go to the website listed at the end of the video.
And if you really want to learn about Adobe Premiere Pro, be sure to pick up the book, "An Editor's Guide to Adobe Premiere Pro" by my buddies Richard, Robbie and Jeff!
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UPDATED WITH ACTUAL PHOTOS AT THE BOTTOM!
UPDATE 2 - New Photo from Tangent Design showing the relative size.
Thanks to Tangent Designs for letting me introduce this to you guys. I saw the prototype at NAB this past April as of today, Tangent introduces the new Element Control Surface. As you can see, it’s a very sweet modular design that feels like finely honed steel or aluminum. Very beautiful design. These are the final 3D renderings just prior to production.
As you can see, very beautiful and modular in design and according to Tangent, you can outfit this unit any way you please. As long as the software host supports it, you'll be able to add extra panels of knobs, buttons and trackballs.
I'll write a full review once I receive a production model for testing. Coupled with today's announcement from Adobe about purchasing IRIDAS, these are exciting times!
Big thanks to Andy and Chris at Tangent Design for sharing some actual photos of the production unit with me. Enjoy!
The marketing photos make this thing look much larger than it really is. Chris and Andy just sent me a snapshot of the unit on the IBC Show Floor that really gives you a perspective on the relative size. Note the Apple Mini Keyboard and iMac in the photo. Remember, when they showed me the prototype in April, it all fit in a backpack. So it's a really nice small, modular footprint.