Premiere Pro

How to Create Digital Zooms with 4K Footage in Premiere Pro

By Jourdan Aldredge Check out these simple techniques you can use to incorporate digital zooms into your next 4K video footage editing project. → continue…

From:: Premium Beat

2017 – a Race to Digital Cinema Technology’s Invisible Finish Line

By Yossy Mendelovich

Once upon a time, there were film cameras and the cinematography world was a small niche dedicated only for professionals who used cameras that costed a fortune. The independent filmmaking world as we know it didn’t exist and making a film (even a short) was considered a heavy operation.

Much water has gone under the bridge since then, and these days most people own a camera and can go and make movies. Not that this is a bad thing, but where there is a need, there is also someone who would deliver – I’m talking about the cameras and software companies who have got crazy about unleashing their creativity in order to produce more and more products for enthusiasts and professionals like us. Let’s remember this year’s craziness.

The Grand Battle of the NLEs


When Blackmagic Design released its video tutorial to help FCP 7 users migrate to Resolve, I wrote an article that generated heated discussions mainly between FCPX, DaVinci Resolve and Premiere Pro users who tried to justify their NLE weapon of choice.

BMD indeed implemented many features, which I can honestly say from a perspective as a past software product manager, were pretty impressive in terms of software development. Anyone can see that the main goal is to attract users and persuade them to migrate to Resolve for not only grading, but also for editing.

Of course, Apple and Adobe fought back, releasing tons of feature of their own.

It is important to note that more features are not an indicator of software efficiency. As an editor, I know that the most crucial part in → continue…

From:: Cinema 5d