Our birthday twin Premiere Pro has turned 25 this year (both us and Adobe’s industry-leading NLE began life way back in 1992). And while we’ve been building our modest creative technology empire, Premiere has managed to seduce the Coen Brothers, David Fincher and a small army of editors, as evidenced by their birthday video, below.
Obviously all of these people are just as excited by our birthday, and the gifts they definitely sent us are merely lost in the post.
It’s easy to see why Premiere won people over, though – its earliest iteration was the first software-only editing system that you could run on a normal computer, and by 1994’s version 4.0 it was hitting full screen broadcast quality with 60 fields per frame. By 1996, it was offering a 4K frame size for use with digital signage, and has continued to push resolution limits, with the current version maxing out at 16K x 10K.
Since 2006, a Dynamic Link to Adobe After Effects connected traditional editing timelines to motion graphics and visual effects production, and cross disciplinary support has only increased since the move to Creative Cloud.
You can see a longer, more nostalgia-heavy and occasionally surprising (did you know Netflix had been around since 1997?) rundown of Premiere’s illustrious history here.
In the latest iteration, previewed at NAB, new media manager features in both Premiere Pro and Media Encoder give you much greater control over the handling of your files during the ingest process, and allow for more flexibility when working with very large media. You can set Premiere Pro to copy media to a specific location on your machine as it imports, and even begin editing immediately while your media copies in the background. If your workflow requires a transcode, you can easily set Premiere Pro or Media Encoder to handle that step for you too.
You can also generate proxies on ingest, and toggle between these and your full-res media at one click, in order to better support 6K and 8K workflows. There’s also support for advanced Lumetri scopes and the Rec2020 colourspace.
And when it comes to the workflows of the future – VR, for example, Premiere is ready: VR Video mode allows you to use pan and tilt controls to preview the experience inside the sphere. You can even click-drag directly on the video clip and freely pan around so you know what your viewer would be seeing when looking in a given direction. When you’re ready to share, you can easily add a metadata flag to ensure you’ll get the full panoramic experience on supported sites like YouTube and Facebook.