Studio Daily by Anita Engelman

Recent innovation in cameras has changed the fundamental ways in which movies are being produced. Now it is possible to capture gorgeous, high-resolution digital cinema footage at a much lower price point than in the past. Recently, a couple of new and exciting digital cinema cameras were unveiled – Canon debuted their Cinema EOS C300, and RED Digital Camera Company introduced their 4K-capable Scarlet-X camera – both of which shoot to formats which are already natively supported in Adobe Premiere Pro CS5.5.

These latest camera announcements from Canon and RED are aimed squarely at a new breed of filmmakers who are changing the rules for film production and distribution. Defying the big, bloated movie budgets of the past, today’s digital mavericks are making their films fast and with surprisingly low budgets. But make no mistake; the caliber and quality of these films is right up there with the best of the best.

One of these trailblazers is award-winning filmmaker Vincent Laforet, who’s using Adobe Premiere Pro CS5.5 software to edit footage from the latest cameras from RED and Canon. Laforet previously relied on a workflow involving Apple Final Cut Pro in combination with tools such as Adobe After Effects and Photoshop software, but switched to Adobe Premiere Pro CS5.5 due to its native editing support for RED and DSLR camera formats. Plus, the depth and integration of Adobe software transformed the leading image-maker and director into an enthusiastic convert to an all Adobe video production workflow.

“Native support for the 5K RED EPIC and Canon EOS 5D Mark II DSLR camera formats in Adobe Premiere Pro CS5.5 led me to try Production Premium initially,” says Laforet. “That feature alone was well worth making the switch. Then I saw the integration among all the components of Adobe’s video tools and the virtually endless number of features — these factors made the move to an all Adobe workflow the clear way forward.”  read more...