Adobe’s been on a bit of a rollercoaster in recent months, but it’s coming to the end of a rocky ride with a smile on its face. While older products such as Flash have been dropped by Google in favour of 100% HTML5 in adverts from June, its shifted focus to its library of programs only seems to make it better for companies like us.
For those who’ve work with Adobe’s more established suite of products, things are getting truly exciting. In June 2015, Adobe released the latest iteration of Creative Cloud (CC): a lighter, cheaper and less bloated way to get everything required by creative agencies loyal to the likes of Photoshop, Illustrator and, of course, Premiere Pro.
CC offers a faultless subscription model that no longer requires you to pledge allegiance to one, or several, copies of a single program at over £1,000 a pop. Instead, you can get all 20 apps, as a business, for £53.20 per month (exc. VAT). If you’re just after a basic photo editing suite, you’re talking less than £9 per month. You can download and uninstall as you please, directly through its easy-to-use interface (like Steam for multimedia enthusiasts).
Put simply, Premiere Pro is an essential part of Stada Video’s workflow. We use it every single day in video editing and post-production, not least because its ease of use but its overall integration with other apps in the company’s ecosystem. We think it’s a must-have for any video company.
Keeping it simple, here are a few simple reasons why we think it’s well worth a look:
- The sheer amount of customisation options. No two Stada employees are the same, and Premiere Pro allows you to make your own bespoke keyboard shortcuts and clipboard options.
- It’s incredibly cheap for what you get. Under £65 per month for 20 integrated apps, when one would have cost over £1,000 to buy outright only a few years ago? You really can’t argue with that.
- Sound options are incredible. The in-built mixing abilities that Premiere Pro offers are perfect for beginners and experts alike – excellent if you’ve got a full spectrum of talent and experience, much like us.
- Adobe’s training is still just as good. A bit of an obvious point for some, perhaps, but CC offers endless tutorials on how to do something new, allowing you to crossover into new programs that slot effortlessly into the ones you’re great with. You could assign a so-called product evangelist in-house to present the latest and greatest ways to do things on software everyone knows. Give it a try.
- Upgrades straight to your computer. Don’t expect the textbook Apple treatment, where you’re concerned you’re only one upgrade away from needing to buy an entirely new plan (or computer) to get the latest features. Software-as-a-service is, by definition, giving you the best at all times – and you’ll always have access to the best with this package.
We appreciate this sounds like an extended sales pitch, but no, we’re not getting a share of Adobe profits for saying this. We just really don’t think that CC (and PP’s) low price point should fool you into thinking it’s only for smaller companies. In fact, it’s been operating at the highest level for quite some time – and one of this month’s record-setting blockbusters is one of them.
Deadpool, which added to its countless box office records by ironically becoming the highest-grossing X-Men film of all time (despite his steadfast refusal to join the jumpsuited brigade), was entirely edited on Premiere Pro. It follows Gone Girl, the first film generally accepted to go via Adobe for production.
In an official video for Adobe, Deadpool director Tim Miller sang the praises of Premiere Pro and After Effects: “[T]he idea that this new version of Premiere was built from scratch with filmmakers, who are very picky and discerning, made me believe that it was going to be a product that was going to have some legs and was going to be here for a while and I wanted to work in the future. I didn’t want to go with the past, and so Premiere seemed like the perfect choice for us.”
Regardless of the fact we’re a competitive company that wants to do better than everyone else – and we know we have some great talent here – we also want everyone to do the best by themselves, so that the industry can only get better together. Investing in Premiere Pro, to us, is a no-brainer. If you’re in the industry as a major player or a one-man band, take our advice and have a go.
And if you do – or you’re already an avid user – get in touch to let us know how you’re getting on, or if you want any insight into the platform. We’re here to help!