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Postflux for Adobe® Premiere® Pro® is a new, cutting-edge platform which improves the archiving, versioning, integrity, security, performance and sharing of Adobe Premiere Pro projects in extended workflows. It addresses the fundamental issue of being able to confidently share projects, thereby mitigating risks, improving productivity and efficiency whilst enabling new extended workflows.

Based on a client server architecture, individual editors have their own Postflux user logins, Postflux scans and analyses disorganised source project files and resolves all associated media. It then moves the project and media to a specified location, thus creating a new fully self-contained and organised Premiere Pro project. This makes exchanging Premiere projects simple and easy, plus allows the user to write to the most appropriate and pre-determined storage locations, whether on high-performance storage, removable storage or cloud.

Marquis Broadcast’s Managing Director, Paul Glasgow, explains, “Postflux simplifies and transforms the reliability of extended Adobe Premiere Pro project-based workflows. Missing media can be a nightmare for companies, so Postflux not only checks for this but also ensures project integrity from the point of origination through to archiving, helping transform production efficiency.”

During the source project scanning and analysis process, Postflux identifies any missing or offline media and automatically notifies the user of the missing media and the last location in which it was seen – perhaps on an ejected removable drive. This simple step enables users to rectify any missing media at source before an incomplete project enters an extended workflow. Postflux contains an automated notification service so users can track processing and transfer status of key tasks, with all system activity logged at user and system level for diagnostics.

Postflux has two additional and important modes of exchanging projects. This can be as a single project archive – which also contains the complete, project version history and media – or as an archive set. An archive set contains multiple projects, complete with individual version histories and common media associated with all of these versions. This enables users to non-destructively collaborate on projects, sharing and versioning complex productions without duplicating any media. The archive set contains a complete and easy-to-navigate version history of the project, ideal for distributed collaborative production or perhaps for archiving a TV series with all its versions.

The Postflux system has a good understanding of the system’s storage locations, which could be on local storage for an individual user or on pre-determined shared or workgroup specific network locations. The platform also includes a substantial storage plug-in library, including cloud storage.
Permissions for these are set by the Postflux system admin, which also enables specific source and delivery workflows to be enforced. The system flexibly supports manual operations, task chaining and automated scheduling. Automated scheduling is ideal for automated overnight backups of all work-in-progress for operational protection and disaster recovery.

“The concept of the Postflux versionable archive set becomes particularly valuable when combined with cloud workflows,” adds Paul. “In the case of AWS S3, security and encryption keys can be used such that workflows can easily use the cloud as a secure integrated workflow step. This ensures an effective, efficient production process.”

“Many of our enterprise customers have extended or very complex workflows,” said Sue Skidmore, head of partner relations for Adobe video. “Marquis Broadcast has added to the Adobe Premiere Pro solution eco structure in a way that gives our customers the ability to confidently share projects with improved productivity and efficiency.”

Postflux for Adobe Premiere Pro has been shortlisted in the produce category in the IABM BaM Awards ® 2019. Category winners and awards will be presented at the IABM BaM Awards™ party on 9th April, 6-8pm, Ballroom B, Westgate Las Vegas Resort. You can register to attend here.

To find out more about Postflux with Adobe Premiere Pro, please visit Marquis Broadcast on booth SL14816 at NAB. To arrange a meeting, click here.  

Photography 

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Adobe Premiere Pro CC review from 2013

Note: this is the archived copy of our review from 2013, provided for you to peruse if you’re curious about how things have changed since then.

Adobe has entered a new chapter; one where you don't own your software anymore, but rent it from them and pay a monthly subscription to keep using it.

The whole concept of software is changing and it might be having some radical benefits, like what happened with Adobe Premiere Pro CC version 7.0.1. Although a minor increase in version number, many improvements have been made to the software that will make your editing easier and faster, and isn't that the whole point of a video editing application?

Premiere Pro is already an extremely competent app which allows you to work with practically any clip you'd care to throw at it, so what little nuggets have Adobe offered its legion of editors with this new update?

Many of those new features are quite small, but their value lies in what they help you achieve, and they're all much welcomed and needed improvements.

Let's take a look at three of them, like Premiere Pro's titles.

You can spend time creating one that looks exactly right, but duplicating it as an independent title so you can use the exact same style elsewhere along your timeline is now child's play: hold down the Option or Alt key (depending on your computing platform) to create a new, unique instance of the first title, which you can then alter without those changes being copied back to the original. This may not sound like much, but if you work with titles a lot, you may well appreciate this greatly.

Another small change is what Adobe have done with subclips. These are not independent clips, but linked to a longer one, and are used most often to isolate parts you might be interested in without having to scroll through the whole original to find them again. When creating a subclip, you now have the option of being able to alter its in- and out-points later on.

Before this update, those points were set and the subclip behaved as if there was no other footage beyond those boundaries, even though there obviously was.

Once that new option is enabled when you create a subclip, you can extend those boundaries to give you a little breathing room for transitions and such like, should your edit require it. This is a great feature as it saves you having to go back to the original clip to grab the footage from there again if the original subclip's limits got a little too tight for your needs.

When it comes to creating L-cuts (when a clip's audio and video are cut independently at different times - something which is done to add dynamism to your edit), you'll love the new 'Linked Selection' button in the Timeline.

When you toggle it, you can edit either part of your clip, be it the video or audio section, without affecting the other. It makes L-cutting an absolute breeze. Your clips' audio and video are still connected, and toggling that button again re-establishes that link automatically.

There's the potential that you might inadvertently move the audio and video out of sync with this feature which is why a new display indicating if a clip has gone out of sync in the Timeline is also very welcome indeed, although this feature isn't toggled on by default.

It's hard to do justice to such a huge program in such a short review, but all the features that have been added to Premiere Pro CC 7.0.1 will be beneficial to your workflow in some way, especially if you're migrating from other apps like Final Cut Pro, as Premiere now behaves more like that you're used to.

Veteran users should also appreciate the timesaving these features afford you.

All in all, this is a very worthy upgrade and if a lowly x.x.1 update brought all this to the platform, we very much look forward to the next 'incremental' change from Adobe.

We liked

It's obvious that Adobe are determined to make Premiere Pro the best editing choice for filmmakers, and their constant refinement of the program while keeping it as stable as it is, is extremely good news for the community.

Some changes are playing catch up with the competition while others move it forward. There's nothing groundbreaking here, just little touches which should make our editing jobs a little easier and hopefully allow us to finish a project before the early hours of the morning for once!

It's the number of changes, over the whole interface and editing process, which makes this update so appealing. It makes us feel like Adobe are listening to their customers - and this can only be a good thing.

We disliked

Being able to own the software would be great, as opposed to merely renting it.

The price may be attractive but Adobe locks you in to yearly commitments and the moment you decide not to pay for it, your app will no longer work. How attractive this is to people, only time will tell, but not only could it cause some who are uncomfortable with the idea to shop elsewhere, it destroys any chance of reselling your copy should you no longer wish to edit with Premiere in the future.

You do get the benefit of getting the latest updates as soon as they're released, which will be a change for some editors who buy an app and keep it for as long as possible before feeling the need to upgrade to the latest and greatest.

But apart from that, there's really not much to complain about. This is a solid update which brings many advantages. It works on multiple platforms, and it holds its own on older machines, unlike certain wiz bang programs from the competition.

Final verdict

If you're an experienced Premiere editor, you'll love the new changes; those that are migrating from elsewhere will appreciate that Premiere is behaving more and more like what they're used to, making the transition much easier. What's not to like?

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