Learn the ins and outs of Premiere Pro from the perspective of an Avid Media Composer editor: creating workspaces, migrating user settings, file management, audio routing, media export, and more.
As a video editor, I apply all the necessary techniques that are relevant to my craft, no matter which editing system I use. So can you. It's just like driving a car: Once you know how to drive one, you can easily switch to another.
Switching from Avid Media Composer to Adobe Premiere Pro CC needs few adjustments to get yourself working right away. In this tutorial series I explain how you can become familiar with the different, yet familiar user interface of Premiere Pro. By understanding how this nonlinear editor (NLE) works, you can easily avoid some common traps you might otherwise encounter.
The following nine videos will help you get the most out of using Premiere Pro from the perspective of a professional editor who has used Avid Media Composer for many years. You don't have to watch them in any specific order; just watch the ones that will help you form a complete picture of working with Premiere Pro. I also recommend watching a short demo by Joost van der Hoeven that shows a common technique for migrating a project from Avid Media Composer to Premiere Pro.
When I switched to Premiere Pro CC for the first time, the first thing I did was try to make it behave like Avid Media Composer. Although there are presets to help you do just that, I highly recommend getting to know Premiere Pro for what it is — an excellent nonlinear video editor with lots of great new functions that you’ll never know about if you try to make Premiere Pro behave like an Avid system.
Rearranging panels in Premiere Pro is a snap. In this video I show you how to build two Avid look-alike layouts from scratch for a single-monitor and a dual-monitor setup. I also provide two sample project files that contain the two different Avid look-alike workspaces that you can import into Premiere Pro and jump to whenever you want.
What you'll need
If you’re like most working editors, you do your editing on more than one computer. In this video I show you how to take your personal settings with you so you can get to work right away.
Repeat after me: Always keep your media together! If you are already familiar with the Avid AMA workflow, and if you already have good working experience editing with AMA-linked files, then you should already know how to organize your media on your hard drive when working with Avid and know what it means if a link to your file suddenly becomes broken. In this video I explain best practices for managing your media to avoid frustrations later.
The more time you invest in organizing your footage before you start to edit, the more time you will save later on. In this video I show you how to use the Media Browser panel to import and arrange your media within Premiere Pro and locate assets using Search Bins.
I also highly recommend learning about Adobe Prelude CC, which will make your life much easier and save you a lot of time when managing digital file formats and backing up your original media.
There are many things to consider when setting up a project — but those choices don’t have to be confusing. Be the smart editor who devises a complete data workflow plan from shooting to outputting before editing anything. In this video I show you how to set up your project and avoid unnecessary offline media and file relinking, whether you work in an offline-online shop or do everything yourself.
You don’t have to be an audio engineer to work with audio. In this video I show you how to avoid some traps when working with audio in Premiere Pro. The good thing is that once you understand the basic philosophy, you won't run into these little pitfalls anymore.
Nested sequences open up possibilities for efficient workflows. In this video I show you how nesting is a great way to organize and speed up your editing process.
Once you finish your edit, there are several ways to output your sequence. In this video I explain that Premiere Pro can export using a specific codec to compress your material or by using EDLs so that your edit can be relinked later to high-resolution footage on another system.
Contributor: Stefan Weiß