Creative Cloud is anti-competitive, locking users into a perpetual payment plan with no guarantee of future costs. What started at Adobe has spread like a cancer in the software and creative app industry with subscriber-only plans rather than a one off purchase price. Our subscriptions as businesses, enthusiasts and consumers are stacking up and becoming a real monthly headache, and it is time governments looked into regulating the subscription software industry – starting with the king bastard of them all, Adobe.
Resolve has truly come of age.
Adobe are sitting on my subscription money, seemingly with their arms crossed.
Samsung NX1 users are in for a treat with the latest release of Adobe Premiere CC. The NLE has been updated with hardware accelerated 4K H.265 (HVEC) support. This means NX1 users no longer have to transcode clips to an editable format like ProRes.
I have just tried out H.265 support in Premiere, so a brief word on this now…
I am experiencing a problem with Adobe Premiere which destroys the quality of Canon 1D C footage. It’s a problem which has always been attributed to the camera and others like it – banding with an 8bit codec. But actually, could the software you use to edit material play a role?
Only a few years ago S-LOG was a $3800 upgrade for the Sony CineAlta F3, itself a $15,000 camera. S-LOG made its debut on the Sony F35, a workhorse of Hollywood.
Now Sony have put this on a $2500 consumer camera along with the best full frame sensor I have ever used for video. How good is it? Very!!
I am sharing a pack of LUTs for the A7S which can be applied in Premiere, Resolve, etc. for an instant cinematic look to your A7S S-LOG 2 footage.
Three LUTs are provided in the zip. Dynamic – for best dynamic range, will suit a low contrast shot requiring high dynamic range and plenty of shadow detail. Also good for low light. Vivid will give a punchier look to those shots that benefit from it like a sunset and where some dynamic range can be scarified for higher contrast and saturation. S-GAMUT is for when shooting S-LOG with the Color Mode of S-GAMUT and compensates for the purple tint to reds I find I am getting in this mode. For the Dynamic and Vivid LUTs you must set the camera colour mode in PP7 to ITU709 Matrix.
Above: the Canon 5D Mark III with Magic Lantern raw video recording. Check out the EOSHD book here
Due to demand Adobe are finally putting Cinema DNG support back into Premiere. What’s more it is a fully featured implementation with realtime playback like Resolve and GPU accelerated debayering. Adobe’s existing debayer of Cinema DNG gives the best image quality out there so I have high hopes for Premiere come October.
A professional workflow for 5D Mark III raw is now available.
GoPro CineForm Raw offers 10:1 compression and can be edited directly in Adobe Premiere and Blackmagic DaVinci Resolve 9.
Adobe Cinema DNG brings a Blackmagic Cinema Camera style workflow to the 5D Mark III and is ideal for grading uncompressed raw in DaVinci Resolve.