workflow guides for several high-end cameras and formats in Premiere Pro and After Effects

Adobe has been putting out several white papers, workflow guides, and other materials to give the nitty-gritty details of how to work with several high-end cameras and formats. Many of these resources are collected here.

This blog post is a summary of some of these resources, and links to some that aren’t captured on this page.

Note that most aspects of working with most of these formats in After Effects and Premiere Pro are not significantly different from working with movie files using other formats and codecs, so the instructions for importing and exporting are much as you find in the general documentation on importing and exporting in After Effects Help and Premiere Pro Help:

These workflow guides were written for Premiere Pro CS6 and After Effects CS6, but most of the material is still useful if you’re still using the CS5.5 version. If you don’t yet have CS6 Production Premium, you can order it here… or try it free for 30 days so that you can make full use of the features described here.


RED digital cinema (R3D)

“Using Adobe Premiere Pro with RED digital cinema content”

This paper gives an overview of working with RED (R3D) digital cinema files.

Recently, Adobe and RED presented an hour-long online seminar about using Adobe software with RED Digital Cinema cameras. Representing RED was Ted Schilowitz, and representing Adobe was Wes Howell, software quality engineer.

If you have questions about using RED Digital Cinema cameras and footage with Premiere Pro and After Effects, the best place for those questions is the RED User forum, where several experienced editors and Adobe staff are active.


Panasonic P2

“Adobe Creative Suite Production Premium: End-to-end workflows for Panasonic P2 and P2HD cameras”

This paper describes working with footage from Panasonic P2 and P2HD cameras in AVC-Intra 50, AVC-Intra 100, DV, DVCPRO, DVCPRO50, and DVCPRO HD formats.


AVCCAM

“Adobe Creative Suite 5 Production Premium: End-to-end editing workflows with Panasonic AVCCAM cameras”

This paper describes working with footage from Panasonic AVCCAM cameras using the AVCHD codec.

  • Part 1: aquiring and archiving AVCHD footage
  • Part 2: ingesting and logging footage in Adobe Prelude CS6 (more detail here: Prelude Help)
  • Part 3: working with AVCHD footage in Premiere Pro (more detail here: Premiere Pro Help)
  • Part 4: working with AVCHD footage in After Effects (more details here: After Effects Help)
  • Part 5: delivery options and working with AVCHD footage in Adobe Media Encoder (more details here: Adobe Media Encoder Help)


Canon digital video camcorder and DSLR cameras

“Using Adobe Premiere Pro with Canon Digital Video Cameras”

This paper covers video formats used by Canon video cameras–DV, HDV, AVCHD, and Canon XF (MPEG-2).

Adobe Premiere Pro also offers native support for high-definition video shot with the Canon 5D Mark II, 5D Mark III, 7D, 1D Mark IV, and EOS Rebel T2i DLSRs. For the DSLR workflow, see Karl Soule’s video, “Working with HD digital SLR footage in Premiere Pro”.

Jason Levine has a series of video tutorials on Adobe TV that show how to shoot and edit HD video from DSLR cameras using Premiere Pro and other applications in Creative Suite Production Premium. These videos are aimed at photographers and other folks who are somewhat new to video editing, so this series serves as a pretty good overview of Premiere Pro in general.


XDCAM

“Using Adobe Premiere Pro with tapeless Sony XDCAM content”

This paper describes working with footage from Sony XDCAM cameras in XDCAM, XDCAM HD, XDCAM HD 50, XDCAM EX formats.


JVC ProHD

“Using Adobe Premiere Pro CS6 with file-based JVC ProHD content”

This paper describes working with footage from JVC ProHD camcorders.

2 Responses to workflow guides for several high-end cameras and formats in Premiere Pro and After Effects

  1. This could need an Arri Alexa guide as well. How to apply the result from the LUT Generator at arri.com can be confusing, I ended up avoiding the Color Management in AE and just using the LUT on an Adjustment Layer with the “Apply LUT” effect.