Adobe has announced it's next set of Premiere Pro features
Strangely they aren't going into the features that I am most excited about, which the Premiere Bro Blog actually does.
Adobe is mostly focusing on it's new VR abilities which are extensive, though something I likely will never use. And then it's shared projects features, which will be awesome. Much more AVID like abilities in sharing projects and locking aspects of projects. And the Responsive Design tools sounds great with more ability to edit graphics without having to open premiere.
And in their they mention that you can finally open multiple projects at the same time, much like Final Cut Pro could do! That is awesome!
What the Premiere Bro Blog mentions is being able to preview fonts in the Essential Graphics Panel and set favorite fonts (hopefully also a different default font), and an additional 8 label colors for a total of 16, which is small but awesome addition!
Adding LUTs to Adobe Premiere Pro, A PROBLEM WITH IT THAT YOU SHOULD KNOW
Well a quick Google search has various links to sites that explain how you can add your own LUTs to Premiere Pro. Here is one at Premium Beat. The thing is there is a problem with this method.
In this method you open the application package contents, go into the Contents/Lumetri/LUTs/Technical folder and add your LUT and restart the program. Obviously this is something that is changing the actual application so it should be done at your own risk, and any update will likely wipe out your LUTs, but if you are going to do it, YOU SHOULD KNOW THIS!
If you want the LUTs to work in Premiere and to be able to export them with Adobe Media Encoder or use them in Adobe After Effects you need to also install your LUTs into those programs as well. There is no central repository for these LUTs!
Now I have requested with Adobe that they add the ability to add your own LUTs to the menus in a central repository, but that doesn't mean the feature will be added ever.
I created a new logo bumper for Whale of a Tale Productions in 4K
I had recently upgraded a really old logo that had been NTSC to 4K, but wasn't too impressed with the results, so I decided to create a new one that more closely resembled my new Business card.
So I went to trusty After Effects CC 2017 14.2, as well as Element 3D and Red Giant Tsunami and created the following logo bumper for Whale of a Tale Productions.
Someday I will tackle one in full 3D where the logo can interact with the water, but not right now. For now I am pretty happy with this one.
Adobe Feature Request Add X-Rite Video ColorChecker color Matching to Lumetri Color
So I made a Adobe Creative Cloud feature request on adding support for X-Rite ColorChecker for Video to Lumetri. This would add a very powerful color matching tool, and alleviate me from having to go out to DaVinci Resolve as often.
Here is my feature request text:
Since removing SpeedGrade from Adobe Creative Cloud, there is only the less powerful Lumetri controls within Premiere Pro and After Effects there are not full pro color correction features within the creative Cloud. Now i have gone back to using DaVinci Resolve for complex grades and a tool that I use all the time is color matching using X-Rite ColorChecker for Video as well as the Passport model. It is an extremely powerful tool for color correction and really helps with color matching between various cameras. The addition of X-Rite color matching would greatly increase the power of Lumetri color tools. And it would alleviate me having to go out to DaVinci for a full grade as often.
Adobe has updated Creative Cloud Video Apps in advance of NAB 2017
You can check out the playlist of 23 videos about all the new features across the full suite.
Adobe Blogs also has info on all the updates.
I am most excited to see the Essential Sound Panel makes it way to Premiere Pro!
Having full Lumetri in After Effects is also very cool, and will be quite helpful, though as you know I still mourn the loss of SpeedGrade as Lumetri is not nearly as powerful. And that in many cases means I have to go to DaVinci instead of being able to finish within Creative Cloud.
I am also interested in the Essential Graphics Panel, which brings both direct graphics creation on the timelines as well as changes to templates made in After Effects.
I am also interested in seeing Camera Shake DeBlur and seeing how it does with Warp Stabilized Footage.
The new Multi-Channel tools in Audition are also intriguing, though I would be happier having them in Premiere (especially if I could automatically move multiracks to multiple tracks instead of a single track), as while I do finish some jobs using Audition and it's Essential Sound Panel, but mostly I go to a mixer using ProTools.
And having Pond 5 in the Adobe Stock panel is a great addition.
Overall I always look forward to playing with the new features, and am glad they come out as often as they do.
Color Correction Test with DJI OSMO+, Canon 60D and iPhone 6S and Visual Effects of Gun Shots
The visual effects include adding the gun shots, light flashes, and color correcting the orange tip of my gun so it is gray.
I was trying to show my ability to color match the footage from such different 3 cameras, as well as add the visual effects to make an interesting little sequence.
Let me know what you think!
Adobe has released Premiere Pro 2017 Update fixing the Title Tool Crash and Captions Issues
This is a big one for me since I did just did a big captioning job and had issues with Captions not being editable in many Workspaces, so hopefully this has fixed that. And the whole Title tool crashing if you copy within it is another big one.
I was able to work around all these issues, but having them fixed is a big plus.
Adobe needs to fix OMF export from Premiere Pro 2017 with multiple bit rate audio!
And there is a workaround. You need to use the Edit in Adobe Audition: Sequence command and then use Audition to export the OMF correctly.
This is a feature that needs to be pulled out of audition and put into Premiere pro, working OMF export, otherwise why have the feature there at all?
Come on Adobe. And I see they have had this issue for a long time from posts online! FIX THIS!
I have been told that basically Adobe has given up on OMF and now focuses on AAF, so next time I will see if the mixer can take AAF.
Adobe Premiere Pro 2017 11.01 crashes on Copy in Titler
It does seem at least Adobe knows about it, since they have commented in their forums. So hopefully it will be fixed soon.
Adobe needs to bring back send to SpeedGrade in Premiere Pro
Sure DaVinci Resolve is more powerful, but mainly because it has been consistently upgraded. There are still some things that I like better in SpeedGrade, like not only overall grading controls, but the same controls in light, medium and dark. I love just being able to increase contrast and saturation in just the mids! And the best features was Direct Link because the grade came back to Premiere, instead of being a rendered export from Resolve, making itinerant version changes much easier in commercials so much easier!
What I hadn't realized because I was using SpeedGrade with an earlier Creative Cloud, was that not only have try not upgraded SpeedGrade, but in Premiere Pro 2015.3 they removed Direct Link to SpeedGrade!?!?!? So it is obviously gone in 2017.
Sure they have put some Lumetri controls in Premiere, but nothing like SpeedGrade. You can do color corrects, but the controls are very dumbed down, and not nearly as powerful! With most of the masking controls gone, and such simple controls, it is no replacement for SpeedGrade! And while DaVinci Resolve stills works great, the loss of Direct Link is a huge minus! There is of course a thread about it at Adobe Forums, but I doubt adobe is listening!
Honestly this move is so very Apple like. Exactly like Apple buying Shake, making it affordable, then gutting it for the smallest technology out of it. Or Apps buying FinalTouch, turning it into color and killing it. Or killing Final Cut Pro 7 for iMovie Pro, oops, I mean Final Cut Pro X.
And the best part is that while SpeedGrade could use some upgrades, even without them it is still so much more powerful than Lumetri controls in Premiere Pro!
Adobe has made a huge mistake in losing it's powerful color correction tool. It is a huge sore point missing in Creative Cloud now.
Simon Wyndham on RedShark News on him considering leaving the Mac for Windows Editing
Now I have been saying this for years now. I don't want to leave Mac, as I like it much better than Windows, but Windows has really become superior for Professional Computer work. There is not the choice with Mac, and the fact that the MacPro is from 2013 and itself has no upgrade ability really limits the Mac. Sure I could go Hackintosh, but working on a Quo at work I have seen the issues with upgrading, and don't really want to deal with it.
Apple has given up on the creative professional, and Microsoft has stepped up. Look at the next Windows Update for Creatives, and the Suface, Surface Book, and Surface Studio are really for creatives!
I think Apple is making a huge mistake by not making machines for the market that kept them afloat through all the bad years, but Tim Cook doesn't seem to agree, and Apple will suffer for it.
Adobe on working simultaneosly is Shared Video Projects with Team Projects in Creative Cloud 2017
I am looking forward to trying this out in the future. Looks like an impressive solution, and really brings this more in line with AVID.
Adobe Released Premiere Pro Creative Cloud 2017
First they have released Collaboration with Team Projects in Beta. And it is actually fairly reasonable. You it is an additional 29.95 a month for a single app or $69.95 for all Desktop apps (though currently it is Premiere Pro, After Effects and Prelude). This is in addition to the monthly for the suite.
Then their is additional VR support.
Visual Keyboard Shortcut Mapping (which they should have had since the start).
Enhanced open captions, Refined Lumetri Color Tools, and HDR support, Expanded Destination Publishing (something I have never used), Live Text Templates with Dynamic Graphics, Extra File Format Support including natvie QT DNxHD / DNxHR export! Improved Audio Effects with Higher Quality Sound Processing and improved Fidelity from Adobe Audition. Also faster GPU Accelerated effects, and improved support for Apple Metal.
Improvements to Dynamic Link with After Effects (woohoooooo)!
And a Global FX Mute Button for improved playback!
And it still works on El Capitan, which is nice for the Quo I work on, which I just spent too long getting it to run on El Cap to get it to Sierra. In fact it says it works with 10.10 10.11 or 10.12, so this actually goes back before El Capitan to Yosemite!
Adobe Creative Cloud Video and Audio Tools New Feature Reveals at IBC 2016
I just wish they would fix some of the bugs of 2015.3 quickly, as I have heard nothing but issues from people.
Check out an overview of the new features by Victoria Nece at the Adobe Creative Cloud Blog.
As for new features, the big one is Team Projects. A hosted service allowing collaboration between Premiere Pro, After Effects and Prelude. This could be huge if it works well. I like how media mapping can be different for each user. Finally something to fight AVID in large multi-user environments!
Premiere Pro and Media Encoder are next. Bronwyn Lewis has written about it at the Adobe Creative Cloud blog.
In addition to team projects, it now has enhanced Captions and Subtitle support.
Enhancements to the Lumetri Color Tool Sets, which rocks, though unfortunately likely also spells the death of the separate and more powerful Speed Grade Application which once again is not getting an update here.
There is even more expanded VR support.
And destination publishing (something I will likely not be using).
And something I likely will be using enhanced Live Text Templates from After Effects! As well as visual Keyboard Shortcut mapping tool like AVID has always had.
It also will work better with Apple Metal, and have faster Dynamic Linking, And Media Encoder will stitch together multiple clips to ease file management.
After Effects has new features gone over by Victoria Nece at the Adobe Creative Cloud.
It has the afore mentioned Team Projects, a new 3D rendering allowing bent planes and extruded 3D text and shapes within After Effects using Cinema 4D's standard renderer!
It has faster performance with GPU's and more GPU accelerated effects. The aforementioned Improved Live Text Templates, with TypeKit Font Sync.
And more Powerful Dynamic Linking.
And when creating projects from Templates settings like color management and folder structure can be passed on!
Dave Werner shares new features of Adobe Character Animator CC Beta.
Durin Gleaves talks about Audition CC's new features. It has a cleaned User Interface, that more matches the rest of the creative suite and will work on high resolution monitors.
The New NVIDIA TITAN X is the King of the Hill!
GPU Engine Specs TITAN X GTX 1080
NVIDIA CUDA® Cores 3584 2560
Base Clock (MHz) 1417 1607
Boost Clock (MHz) 1531 1733
GbpsMemory Speed 10 10
GDDR5XStandard Memory Config 12 GB 8 GB
Memory Interface Width 384-bit 256 bit
Memory Bandwidth (GB/sec) 480 320
Thermal and Power
Maximum GPU Temperature (in C) 94 94
Graphics Card Power (W) 250 W 180 W
Supplementary Power Connectors 8 pin and 6 pin 8 pin
That is an extra 1024 CUDA Cores for Adobe Creative Suite to play with, and an extra 4GB of faster RAM for not that much more power draw!
If you have been reading my posts, I have come to the realization that my next computer won't be a Mac, and have been looking at custom build PC's like Origin PC or Puget Systems. For a bit I was thinking that maybe 2 SLI GTX 1080's would be the answer for my CUDA needs, but that would basically eat all of my PCI slots. And I likely need some sort of Black Magic Design card to kick out video at least to an HD Monitor for editing, if not an Intensity Pro 4k. And while I can get a USB 3,1 external Raid for hard drives (as I likely won't get a ThunderBolt 3 Motherboard, unless I decide to build for myself), so I could live without a raid controller I would like need a Firefire PCI board to deal with my all my old hard drives until I can afford new enclosures.
So it looks like the new NVIDIA TITAN X would be my $1200 card of choice.
The Palette Gear Controller
I can't believe I never heard of the Palette when it was in it's Kickstarter campaign, but this is a fully customizable controller with analogue controls. It has 4 levels of kit from $199-$899mfor a wooden controller,mand you can also get additional buttons, controllers and sliders which are all controllee by the core untit, amd they have programable lcd lights, so you can remember which button is set for what.
This sounds very cool, and I would love to try one out, though the lack of SpeedGrade control makes it certainly not as impressive, though it does work with basically the rest of the suite.
Jonny Elwyn has an awesome review, which goes heavily into the details.
Adobe has licensed Apple ProRES playback for Wndows
They are also adding export support of mov wrapped DNxHD and DNxHR as well as playback of AAC audio and PNG compressed frames, and the native reading and writing of the legacy Animation format.
At least this gives ProRES a lifeline, though it is really too bad that it won't be able to write it as well, as ProRES is a great format, that looks to be in decline from now on.
I love that Adobe is doing this, but I still can't wrap my head around Apple's thoughts on this. Sure it saves them money in development, and in licensing fees, but to have a really pro format it needs to be cross platform!
Honestly with Apple's history with Pro Products (constantly making them great then killing them), and with the MacPro not being customize-able or upgrade-able at all (and not having been upgraded since it release in 2013), it looks to me like Apple is moving completely out of the high end pro market, and I worry that any of their high end software may not survive either!
Yet again it looks like no SpeedGrade Upgrade in the next version of Creative Cloud
At a press briefing a few weeks ago where we first learned of these upgrades, but of course were not allowed to speak until the official announcement, a journalist questioned Adobe about Speedgrade future development and received a response to the effect of "we're concentrating on Premiere Pro in this iteration."
Actually what Adobe is doing with SpeedGrade seems to mirror what Apple did with Shake. Buy it, make it cheaper without changing it much, and integrate some part of it's tech into it's other apps, then stop updating it, until they just eventually kill it.
And the unfortunate thing is that SpeedGrade is a really great program, and the fact that a full grade comes back into Premiere Pro as a plug in is so much greater than having to render out each shot in DaVinci. And really the only thing it needs to get better is to let you move windows to a seperate monitor so you can have scopes be as big as you want.
And while it is great to have more SpeedGrade tech in Premiere (and even better to have it carry into After Effects), the simplified Lumetri color panel is so much less powetful than a full grade from SpeedGrade that it is almost useless. And really should have a more advanced version that allows for more powerful grades instead of lightroom like simplified controlls!
Adobe Media Encoder won't put chapter markers in H264 Video
So basically the issue is that you can create Chapter Markers in Adobe Premiere Pro in your sequence, which are ostensibly for use in Adobe Encore, but that program stopped with CS6, and after my last hard drive bailed after the El Capitan Update I don't even have it installed on my current hard drive.
Anyway, back in the day with Final Cut Pro 7 I could export a video with chapter markers and compress an H264 video with chapter markers using compressor. It would make Apple Compatible m4v files instead of a normal mp4 files, but chapter markers would work in most programs and show up on the web in most cases.
Unfortunately Adobe Media Encorder won't do this, as it only makes straight mp4 files, and since Encore is a dead program, the Chapter Markers in Premiere Pro are pretty much useless.
After much searching, and seeing all the ways people were making chapter markers (most of which are really a pain the ass, and don't use standard formatting for either the text file, or the timcode), I went back to basically my old way of doing this.
This is to export my video as a ProRES video which includes chapter markers, and then use HandBrake to encode it with Chapter Markers. Now not only this take longer, but also take up more hard drive space, but at least the chapter markers work!
And while m4v is a subset of mp4, it does play in most players including directly in Firefox, though doesn't show the chapters markers, but at least it plays fine. And I am OK with my chapters only working on Macs, because at least they will show for most people looking at my reel.
Why are there not Ergonomic Editors keyboards?
Kensington Expert Trackball as I never really got why you would need a wireless mouse or especially trackball.
Of course at home I still use my last (my 3rd) Microsoft Trackball Explorer, which they stopped making years ago, and now sells for around $200 on ebay for a used one, and will never be replaced as the best Trackball ever made. No idea what I will do when my current one dies, but that is a bit off topic of this post.
I mean most editors spend way too much time on a computer, so you would think someone would do this! So if anyone is listening an Ergonomic Editors keyboard would be AMAZING! AS would someone copying the Microsoft Trackball Explorer, though unless I someday become a billionaire I doubt either will ever happen! Oh well.
Editing Hail Caesar by the Cohen brothers in Premiere Pro
Problems with MXF files that have been imported into Final Cut Pro X
They all appear to be quicktime movies, but will not open in anything, or if they do only audio appears. And when I opened them in VLC it says it is a missing XALG encoder.
The only thing I could find on this issue is this unanswered post at Adobe Forums, and it seems to be my exact problem.
It turns out these are MXF files shot from a Sony Camera, and they were brought in through Final Cut Pro X (which I do not have on this machine), and it wrapped it in an MOV with the XALG encoder. The strange part is I do have the latest version of Motion so that I can get the Apple Pro Codec Updates, so you would think it would have the codec to play the video, but even motion won't open this quicktime movies.
Luckily I was able to get the person with the footage to send the original cards that the footage was shot on, and was able to copy them over and import the MXF files directly into Premiere Pro with no problem, but I can't seem to get the MOV's that Final Cut Pro X to open in anything. I figured Motion would do it, and was thinking maybe Compressor, but if Motion can't do it I am not spending the $50 on compressor, and certainly not paying Apple for Final Cut Pro again because it made some video footage useless.
This is a huge issue. Final Cut Pro X should not do anything to the files it imports, it should just play them all natively. That it wraps them in another file that makes them unusable by other programs makes me dislike this program even more.
Adobe Premiere Pro and After Effects Keyboard Shortcut Cheat Sheets
The Verge on Apple not using Final Cut Pro X
Major problems with El Capitan
Well Apple recently released it's next OS X upgrade, OS X El Capitan, and for me at least it has nothing but trouble.
I run a MacPro 4,1, which is rapidly again, but still works well for video work (especially with an NVIDIA GTX 670 with 4GB of RAM of it), and so far my upgrade to OS X El Capitan has been a nightmare.
First off Messages no longer works for me. I cannot log into Messages with my Apple account, it says that I can't activate my account. I have been trying solutions since it came out, including deleting preferences, resetting my keychain, setting up a new account (and it still wouldn't work there), and re-installing El Capitan, but still it does not activate. So Messages is just completely broken for me. And I am not running a Hackintosh, nor have I changed mortherboards and lost my serial number (it still shows up in about this Mac).
And then there are the problems with Mail. While my accounts have come over, it seems it has removed the passwords from the outgoing mail servers, and since they are so badly hidden within Apple Mail (in advanced and you have to select custom in a drop down menu to get to them), it is a super pain to go in and re-enter all of my passwords so that I can actually send mail! And this seems to have happened with my mom's computer as well, and I can't easily fix it, since I can't log into Messages to do video chat and take over her computer! ANNOYING!
And while the startup seems quicker now, my finder is very slow and so is iTunes! And my first step on any repair has always been to repair permissions, but you with Disk Utility at least, you can't do that anymore. That feature has been removed as the system is supposed to do that itself when you install a new program, but I would like to be able to do that myself. Now Titanium software's Onyx still says it does that, I am not sure you should anymore, though I am going to try it.
Now Alsfot's Diskwarrior works on El Capitan, but it's repairs have not helped my system at all. And TechTool Pro needs to be updated to work so I can't try that.
And another annoyance is that iTeleport Connect, which I use to VNC into my computer from my iPad needs you to enter your admin password every time it starts in El Capitan, so if the machine restarts I can no longer VNC into my computer without first being there to enter the password! I am sure this is a security feature, but I have saved my Machine using iTeleport when some driver screwed up and I was still able to VNC in, but with it not able to log in on it's own I can't do that anymore! FRUSTRATING!!!
And that is to say nothing of pretty much the whole Adobe Video suite not working at all in El Capitan! And there is no word from Adobe of an update (other than some word that their previous demo of After Effects running on Metal [of of the new big features of El Capitan] and running 8 x faster will likely not be coming to consumers) that will fix this. Hopefully they are working with Apple and an update is coming, but so far there is no word.
So far El Capitan is a huge bust for me, and I wish I hadn't upgraded at all. Apple should not have released this until the bugs were worked out, and important software like Adobe's Creative Cloud actually worked!
Oliver Peters on Lumetri Color in Premiere Pro CC 2015
It is worth checking out, and actually pointed out some things I didn't realize.
I didn't realize that the grade in Premiere Pro is separate from a SpeedGrade grade, and none of the grading passes over. This is really too bad. I really like SpeedGrade is an awesome Grading program, and it could be amazing with just a little work from Adobe, but instead they are porting some of it's functionality into Premiere, but dumbing it down to a much more Lightroom like interface, instead of a Pro Grading Suite as SpeedGrade is.
I would be much happier if the grade was in fact the same and passed from one to other so you could use the high end grading controls if you want or the lightroom like controls in Premiere.
It actually kind of scares me that they might just dump speedgrade (no upgrades this time around), when really all it needs are a few little tweaks like multi monitor support to make it really powerful.
A problem with Paste Atributes in Adobe Premiere Pro 2015
When you are copying and pasting attributes of a file, it doesn't paste size correctly if you have unselected uniform scale. I have clips that are a strange aspect ratio so I have to scale the height and width separately, and the only way to paste the attributes correctly is to first unselect uniform scale, and the paste works as you would think. this is frustrating with many clips, and uniform scale should be one of the attributes that Adobe copies when you copy and paste them, but it is not.
Can't save Premiere Pro 2015 Projects to earlier version
First off the new version requires OS X Yosemite on a Mac, the latest OS Version. This means if you have a computer that is going to be slow on Yosemite or doesn't have enough memory you are SOL even with a subscription to Creative Cloud. And this makes 2 other major problems.
The first is that when you install the new version the default setting is to remove 2014 from your system. You can get around this if you know by going to advanced settings and not allowing this, or by re-installing the old versions, but this is an annoyance that was never hear before. Normally it kept all your old versions.
And the second and worse part is that projects saved in Premiere Pro 2015 cannot be opened in 2014, and even worse there is not a way to save down a version like Premiere used to have. In fact you could save down a version in each version then open in that version and save down again. Now you can only save projects to 2015.
The only workaround is to export a Final Cut Pro XML and import that in 2015, but that can be messy. On my first attempt at that, the clip size got messed up (making ever clip 33% wider, which was fine for clips that had not been resized, but for resized clips make for a lot of work). And even worse for projects with lots of text created in Premiere Pro, it all gets wiped out, and leaves a clip with some of the text (but not all) as a marker. This is nuts!
Adobe needs to put back in the ability to save down a version, as not everyone upgrades right away or at all!
I have of course reported this as a bug to Adobe (you can see the form right here) and you should to, because if they get enough complaints they will have to put this feature back in!
Adobe has released Creative Cloud 2015
Am installing it now. Looking forward to the new features, though still pissed that SpeedGrade didn't at least get a dual monitor view where you can move windows (especially the scopes to another monitor).
Macnn Feature Thief article on Final Cut Pro, iMovie and iDVD
My biggest complaint with the article would be on who they polled as they say that most of the people who were angry over Apple's switch from Final Cut Pro 7 to Final Cut Pro X have moved back X (with a cursory mention of Premiere Pro as an alternative).
Personally being a professional editor, I did give the initial Final Cut Pro X a try, and hated it. And got a refund and have not gone back. There are some features that I do really like in X (especially it's handling of Meta Data), but since I edit complicated graphics heavy shows, it is the timeline that is the deal breaker for me, and it is the fundamental feature of X, so no matter how many updates they do, the timeline is too unorganized and broken for it to make sense for a 15 track highly organized video project.
And of all the editors that I know, I have only heard of one that has gone back to X and really likes it now. And while features are starting to make their move to Premiere Pro, there have only been a few instances I have heard of big houses moving to X. Most of the big houses I know that were basically all Final Cut Pro have moved to AVID at the studios insistence (kick backs?!??!), while most commercial houses have moved to Premiere Pro for it's fidelity with graphics.
I just don't see Final Cut Pro X as a viable solution, and with Apple's history of dropping software, I don't trust Apple to keep it going anyway!
Adobe Reveals the next release of Premiere Pro
Here is a quick breakdown.
•Lumetri Color Panel. Adobe has integrated more of the color engine of SpeedGrade directly in Premiere Pro, but with simpler to use controls for editors, but all grades will easily pass over to SpeedGrade. Now you get SpeedGrades videoscopes, and controls simplified to work like Lightroom as well as a new Lumetri 3 Way Color Corrector.
•Morph Cut allows you to seamlessly morph between to edits in a talking head interview to make it look like a single cut (kind of scary, but also an incredible tool if it works as described).
•CC Libraries have been integrated into Premiere Pro and After Effects so you can save looks and graphics wherever you are logged into Creative Cloud.
•Premiere Clip, Adobe's portable editing solution has an upgraded workflow.
•Task Oriented Workspaces for editing, coloring, audio work or other needs (much like AVID's similar functions).
•New formats including ProRes 4444XQ Avid DNxHR, Canon XF-AVC and Panasonic 4K_HS.
•Closed Caption Support
•Composite Previews during trim
•Simpler Keyboard numerical import
•Source Settings as Master Clip Effects
•Improved AAF Exports
•Improved Audio Routing
•Improved Audition workflow, where audition will play the video directly from your media instead of rendering a video of your video.
•Improved Mercury Transmit Performance
•Time Tuner in Premiere and Media Encoder to allow you to retime a show up to 5% easily and possibly up to 10% in either direction without losing quality.
Sounds impressive. I am looking forward to getting my hands on it!
Adobe has given us a peak at the new video features in Creative Cloud
Check out this video that shows the most exciting new features!
Used Premiere Pro's Capture for the first time yesterday
Now I knew that Premiere had a very simple capture engine that would work with HDV or DV, so I decided to give it a try. It has very few settings, just which capture setting, then you can set in's and outs, change clip and tape names and capture a clip or a tape. The problem is that the tape was old, and it kept failing on the capture, and it doesn't seem to have a setting to automatically break up clips when there is a break in timecode. After many many attempts that failed, I gave up and switched to Final Cut Pro 7.
Final Cut Pro 7 still has a much more powerful capture engine, and will in fact break up a capture if you set it to, so you get clips around the breaks, but surprisingly it managed to capture the whole 1 hour and 50 minutes in one go, not making any breaks.
So honestly I am glad Final Cut Pro 7 still runs on Yosemite, as it does still have some uses. Looks like I will need to keep a backup of this system state before the next OS which will likely break Final Cut Pro 7 completely so I can still capture DV easily if need be.
An additional issue with Adobe Premiere Pro sequences in SpeedGrade CC 2014
Actually it is very like the issue with the multicam clips, where you can grade them, and the grade shows up in Premiere, but the Lumetri Effect does not on clips with an Alpha or that or Premiere Pro Text layers.
This is an issue when replacing graphics with textless versions and you can't just take the same grade from existing clips, because the while the grade shows up, it is does not show up as an effect that you can edit or copy or do anything with in Premiere Pro.
This gives me memories of precomputes and AVID! The horror!
I really hope Adobe fixes this and the the other issues I previously posted with a new update of Creative Cloud at NAB this year, as I really do love how the grade ends up on your original sequence (for the most part). I do really like the program, but some of the issues really do make DaVinci seem more viable for the moment.
Issues with Adobe SpeedGrade CC 2014
We have been using DaVinci Resolve for color correction, but with the upgrades to Adobe SpeedGrade with CC 2014 I learned it and have been wanting to give it a try. Mainly because of it's integration with the adobe suite, and the fact that it puts the grade onto the clips as a plug in that can be easily removed, instead of having to render out a new sequence with clips with handles, which makes major changes to the sequence much harder. And with the addition of working with Black Magic Cards it was time to try it out.
So on the current 28:30 Direct Response show I have been editing I am doing the grade in SpeedGrade, and while some it has some very good features, it has some very glaring issues that adobe needs to fix immediately!
- First and foremost if the fact that SpeedGrade is made to work on one monitor, with a second monitor being your view monitor. And if you use an AJA or Black Magic card, it still forces the whole interface into a single monitor. You can't peel off any of the segments and move them to a separate monitor. This is especially troublesome with a complicated timeline! I have 14 video tracks in my current show, so my timeline needs to be fairly large, but you still need the controls to be big enough to use, so what suffers are the scopes, which have shrunk to a minuscule size and are very hard to use! PLEASE ADOBE FIX THIS IMMEDIATELY! We need to be able to re-arrange the window and move things to a second monitor as we see fit. It really makes this program hard to use!
- Number 2 is certainly the issues with Insufficient Resources dialogue which kicks out the video card, so you are only using the CPU to render. And sometimes it makes your images get a crazy clue cast. Now I am using an NVIDIA GTX 680 Mac Edition, which isn't the newest or greatest video card, but is pretty decent, but I don't think it is the cards issue, but instead is with effects and the Mercury Render Engine. The problem always happens on clips with effects on them, but it transitions other than dissolves or even Warp Stabilizer or speed effects on clips. SpeedGrade just can't handle them, and turns off your GPU and you have to at the least restart Speedgrade to get the GPU back on. The thing is that the problem will instantly occur if another filtered clips is hit when you restart. If the Mercury Playback Engine can't handle this in SpeedGrade, Adobe should figure out a way to turn off these FX when they come into SpeedGrade and turn them back on when you go back to Premiere. You can do it manually by turning them off or removing them in Premiere, but then you have to remember to put them all back when you return your grade to Premiere, but that is a workaround and may cause you to miss important FX or transitions.
- Number 3 is issues with Multi-Cam clips in Premiere Pro. If you have multi-cam clips in your sequence you can grade them in SpeedGrade, but they do not show up as a plug in in Premiere, neither on the multi-cam clip or within it's sequence, though the grade does show up. To get around this I duplicate my multicam clips on another layer, and then flatten them. This creates another problem, which it makes each clip a separate instance instead of going back to the master clips, so for these clips you cannot do a single grade on a master clip. Now admittedly this is a Premiere Pro issue, but on that needs to be fixed to make SpeedGrade work better. As being able to user the Master Clip Grade is so much quicker and easier.
- Number 4 for is the timeline. It needs to have better zoom controls instead on showing the whole timeline, 6 seconds or from your in to out. I want to be able to zoom in or out to where I desire.
- Number 5 is a keyboard navigation issue. When I use the numerical controls for a grade and I type a number into a box, hitting the tab should move to the next box and activate the grade I have entered. Instead I have to click out of the box with the mouse, which is slow and not efficient. So Adobe, you need to let us navigate with the keyboard. This is faster and more efficient, especially for those of us without a dedicated color control board.
- Number 6 is faster opening of Premiere Pro sequences. I am sure this has to do with converting the sequence to work, but it takes a long time, many minutes at times, and is especially painful if you keep getting hit with the insufficient resources bug from above.
Adobe releases Premiere Pro CC 2014.2
Nothing on my Multi-Clip sequence bugs, but bug fixes are always a good thing.
Bugs in Adobe Premiere Pro Multi-Clip Seqeunces
Adobe releases Premiere Pro CC 2014.1
Awesome. This release includes Search Bins, Timeline Search, Multiple Project Workflows, Source Monitor Timeline View and Consolidate and Transcode. You can see all the new features at their blog post.
Personally I like the ability to have 4 font size choices, though I kind of wish their was a smaller one than their is. And assignable Marker colors is great.
And it looks great. The darker look and flat effects look awesome. Looking forward to learning the ins and outs of the new features.
PVC on Premiere Pro CC 2014.1
Some of my thoughts on features I had missed.
•I didn't see the changeable Font Size for bins, but it makes a lot of sense, especially for HiDPI monitors.
•And being able to open Sequences from other projects without importing them is pretty huge as well.
•Bezier in tracking is a much needed addition.
Very exciting. Honestly they can't get this out fast enough!
Adobe Premiere Pro 2014.1 announced
It will have search bins that you can keep, advanced timeline search, and Multiple Project Workflows, where you can have different projects open in the Media Browser, instead of having to just import other projects! AWESOME!
There is now a Consolidate and Transcode, as well as a Render and Replace for After Effects Dynamically Linked in your sequence where you can still return to the original media or comp at any time! SO MUCH BETTER!
It works with GoPro CineForm and AJA RAW.
Masking and Tracking has been sped up and better Master Clip Effects.
Also better send to Audition and AAF Export.
And of course HiDPI monitor support.
Honestly I can't wait!
Adobe Premiere Pro and Adobe Speedgrade my first experience
I recently spent the time to get decent at DaVinci Resolve, and really enjoyed it. It is a powerful and impressive grading program, and I will certainly be making extensive use of it in the future. I of course have Adobe SpeedGrade though, as it is part of the Adobe Suite, and with the latest version of Creative Cloud 2014 it has not only allowed for your whole timeline to translate over to SpeedGrade (it used to only take on track at a time), but it also applies the looks that you create almost instantly back into Premiere Pro and puts them on the clips as Lumetri Filter FX that play back in reel time on most clips, and mean you don't have to render out the clips as new clips, you can have your Color correct attached to the original clips! Not only that you can always go back and edit the effects in SpeedGrade at any time! THIS IS AWESOME!
And it works great, at least in initial testing! I was able to quickly come up with a pretty good grade, and quickly send it back to Premiere Pro where it was put back onto the original clips in the sequence! Wow! And I love the new Master Clips setting, which lets you set a grade for every instance of a source in the timeline, what a time saver!
I have to admit SpeedGrade is a little quirky though. It doesn't handle dual monitors well, not letting you split parts of it's interface off at all (which meant my scopes were too small). And it basically has no menus everything being in the interface, which seems very un-Adobe like. Not too hard to use once you learn the basics, but certainly confusing for a beginner.
And I hate the lack of Curves. Sure you can go in and you have 9 levels of control over individual luminance levels of an image and can do different color effects to each, and that is certainly powerful and has it's place, but curves such a quick and easy way of control the look of a whole image at once, that it would be a very powerful addition to SpeedGrade.
The other would be support for more than just AJA Video Output. They need to get BlackMagic support in their as more places have the less expensive alternative to AJA. And you really need video output to get a great grade.
Still, even with these issues I would consider using SpeedGrade for grading with Premiere Pro because it is so easy to do, and just have the grade within Premiere Pro, easily changeable and easily removable. For now I will still go with DaVinci for things that need reel precision, as it works with Black Magic (and that is what most machines I work on use) and has curves, and even some editing functionality, but the integration with Premiere Pro means that I will be turning to Adobe SpeedGrade for much of my color grading needs!
Larry Jordan on why Final Cut Pro 7 editors should consider Adobe Premiere Pro CC and some of my thoughts
I long ago made the switch on my personal system, and am starting to see companies move away from Final Cut Pro 7.
I know that Trailer Park made the move fully to AVID Media Composer for all of it's bays, but they have graphics departments, so you basically are only cutting graphics into your edit there. And I have heard rumored that it is the studios forcing many companies to move to AVID. I actually wonder if they are getting kickbacks or if it is just older people more familiar with AVID? It is a rock solid system, but it seems so dated compared to Premiere Pro which I would say is a much more modern editing software.
As for Direct Response Beach Body made the move to Premiere Pro, which to me only makes sense for Graphics Heavy projects. Especially with a fast video card.
Adobe Premiere Pro CC 2014.0.1 Update
Red Giant has Updated Universe to 1.1 with 3 new Free and 6 Premium Effects!
What's New in Red Giant Universe 1.1 from Red Giant on Vimeo.
Very cool. Lets hope they keep pouring out updates this quickly. The great thing about the subscription model is if they keep getting in money they can keep updating.
What's new in Premiere Pro CC 2014
Adobe has released a full document on what is new of Premiere Pro CC 2014.
They have videos to demo the new major features, such as Masking and Tracking within Premiere Pro, Live Text Templates from After Effects for editable lower thirds and title cards, the awesome Master Clip effects which are added to master clips and show up everywhere the clips show up.
Other less publicized features are you can set up automatic project backup to creative cloud. Reverse Frame Matching! Set clips to Frame Size from a drop down menu, and they don't rasterize, so you are always going to the original to get the best image! AWESOME!
You now have some choice when importing projects, and can import just sequences and create folders and have the choice of duplicating media or automatically using media already in your project.
You can also browse after effects projects in the Media Browser, so you can preview compositions before importing.
A feature that should have always been there in every program is to Maintain Audio Pitch while scrubbing and playback either slow or fast! YES!!
There are Voice Over enhancements. All effects are now cross platform, which means we have lost many effects (though none were that great anyway).
And the most awesome for speed is Cross Dissolve transitions can be saved as Presets! So you can have multiple length effects set up already, and you can change multiple transitions at once!
Premiere is really improving, and at this rate will easily be the best editor choice around. AVID is going to have to learn that they need to upgrade quickly now that they are also doing the subscription model or they will fall behind really fast!
StudioDaily has a first look at the new Adobe Creative Cloud Video Suite Features
Effects Masking and Tracking within Premiere Pro sounds like an awesome addition, as are Master Clip effects, which will make color correction a breeze.
As for SpeedGrade the direct link to Premiere Pro feature where you actually open your timeline in SpeedGrade would seem to answer about half of my issues with SpeedGrade. Now they just need to get some curves going in there.
The ability to apply filters per mask in a layer will greatly speed up effects, and simplify timelines. And the Live templates features is very very cool. Where you can set text lines in After Effects to be editable by an editor within Premiere to quickly make lower thirds and the like based on a graphical template.
All in all it sounds great, and I hope the download is available soon!
RedGiant Universe is out of Beta
I love Red Giant's stuff, so this is a great thing. Not sure about all these subscriptions though. So far the small businesses I work with have been very averse to a monthly fee, but the free plug ins are great to have.
Cinemartin makes Premiere Pro Plug-ins for ProRES and H.265 HEVC for Windows
A 30 Day Trial is available for download.
They will have various versions:
•ProRES 422 including LT and HQ in 1080p 30FPS for $68 with Single Core Encoding
•ProRES 4444, UHD, 4K and H.265 (v2) at up to 60FPS for $137 with Dual Core Encoding
•H.265 SQ and HQ and up to 6 Core Encoding for $551
ProRES is so ubiquitous that this is great news.
Chris Hocking at Late Nite Films on Final Cut Pro X, Premiere Pro CC and Avid Media Composer
And I still say that for graphics heavy projects, even longform (at least 28:30 Direct Response), I think Premiere Pro with a proper video card can easily outdo AVID, which is still archaic in how it deals with Alphas (and importing them) even if it is the king of media management. And those same projects would be a mess in FCP X without the ability to have tracks for organization.
I mean my current sequence has 18 tracks of video going all organized into different layers.
David Fincher has moved to Premiere Pro CC for his film GONE GIRL
Lets hope this is moment like when Walter Murch used Final Cut Pro 3 to cut Cold Mountain. That really pushed Final Cut Pro more mainstream. And since I have seen so many big companies moving back to AVID of late, it is great to see something high profile like this, to push Premiere Pro, which I really prefer to AVID, especially for Graphics heavy projects, like Direct Response which I mostly cut of late.
Not that Premiere doesn't have it's issues, but overall it is a very impressive program, and it's integration with After Effects really makes it even better.
Creative Cloud Video Suite new features videos from Adobe
Adobe has announced an upgrade to the Creative Cloud Video Suite for NAB
Looks like Adobe is taking aim at the finishing power of AVID with the ability to add effects to Master Clips in Premiere, as well as edit Text from After Effects Projects within Premiere.
Scott Simmons has a more extensive look at Premiere.
And as for After Effects, the effects on a per mask basis is pretty exciting, as it will change the use of layers and adjustment layers within After Effects.
Chris and Trish Meyer look deeper at After Effects.
Looking forward to it. The fast update cycle is pretty awesome. I would like to see AVID come close.
Red Giant Releases Universe Plug In
Red Giant has released a new set of GPU accelerated plug ins called Universe. Right now you can try out the Free plan which includes 32 free plug ins, and you will be able to get Premium plug ins, or create your own. They are also updating many of their old plug ins to work GPU enhanced in universe.
There is the free membership, a $10 a month Premium Plan or a $99 per year plan, or a $399 Lifetime plan that does not expire!
The Plugs include:
Universe Free Tools
Universe Blur (7 plugins)
Universe Distort (8 plugins)
Universe Generators (4 plugins)
Universe Glow (3 plugins)
Universe Transitions (9 plugins)
Universe Premium Tools
Universe Chromatic Glow
Universe Knoll Light Factory EZ
Universe Premium Transitions
Universe Prism Displacement
This sounds very cool, and I have already installed and am looking forward to trying them out. Not sure about the monthly pricing unless they do add as many effects as they say they will, but the Lifetime is probably the best deal here, especially seeing things like Knoll Light Factory being added with GPU support.
Also is an addition is called Red Giant Supernova, which allows you to program plug ins quickly using the Red Giant Universe Library. So it fairly easy to create your own plug ins.
FinalBug compares FCP X 10.1 to Premiere Pro CC
Larry Jordan has posted a video on building Multicams in Premiere Pro
Larry Jordan has posted a video on building Multicams in Premiere Pro
Black Magic DaVinci 10 will support the MacPro and it's Dual GPU's, and likely so will Adobe Premiere Pro Creative Cloud
I will still rather see Dual NVIDIA GPU support, as CUDA would likely be faster, but this could make the MacPro a viable alternative to the current MacPro without the expansion. Still want to see some speed tests though as I would like to see Premiere Pro rocking Dual Titans!
Phil Hodgetts on Final Cut Pro 10.1 on new Mac Pro and my thoughts.
Pretty amazing, though now I want to see what happens when Adobe re-writes premiere for Dual Graphics Card support and what it can do, and even better if they carry that over to PC, so we can see this on dual NVIDIA CUDA cards. I would love to see what Premiere Pro could do using 2 GTX TITANS instead of AMD FirePro cards which are slower than gaming cards (much like NVIDIAs QUADRO line). The nice thing about the MacPro is it seems Apple is charging the gaming price for it's FirePro cards, so you are paying for the Radeon editions and getting the FirePro.
I know that Final Cut pro X has gotten much better, but I am still not sold on it. I gave my 2 weeks at the beginning and the mess that it made of the timeline really makes it seem not viable for commercial or direct response, nor for anything that needs an audio mixer, as it will take so much longer to mix something that isn't set specifically for an audio mixer.
Maybe I am biased by Final Cut Pro X 10.1, but all the improvements have not changed the timeline.
MacRumors on new Mac Pro
Overall it sounds like people's complaints were right. The ports on the back are a pain. And the Dual GPU is only good if a program is written for it, and the only one for that now is Final Cut Pro X. It seems currently Premiere Pro uses mostly the CPU, so it is pretty slow as compared to say with CUDA and a GTX 680 or my GTX 670. Be interesting to see what will happen when Adobe makes it compatible with the dual graphics cards though.
Still on the fence. Really want a GTX Titan, which would mean a Windows Machine for my next computer, but there is much software that would not move over and that would not be good. And even with it's improvements I don't see myself moving over to FCP X anytime soon.
Adobe Premiere Pro CC Update (7.2.1)
- Intermittent Buzzing could occur on audio playback where audio transitions were present
- Reveal in project sometimes did not work in imported sequence when clips were present in the project
- Premiere Pro could occasionally crash on playback of certain multi cam assets
- Using matte cleanup tools in Ultra keyer could sometimes cause the top half of the image to disappear when paused in Open CL mode
- Autosave could sometimes interrupt playback.
- The AMD Radeon R9 290 Series has been added to the OpenCL supported card list
- Inserting a merged clip with in/out points via menu or command would insert the entire merged clip, not the in/out range
- Playing with preroll could sometime crash Premiere Pro
- When editing in Anywhere mode, adding synthetics would sometimes show a 10 digit number under the progress panel’s Name column
Red Giant Updates Color Suite to 11.0.4 for Premiere Pro CC 7.2 Compatibility
Issue with Premiere Pro CC December 2013 Release with XML
What's new in the Adobe Premiere Pro CC December 2013 Release (7.2)
Changes include a new VO recording workflow, as well as bug fixes and other enhancements.
Also supposedly the red flash in playback and export of ProRES footage has FINALLY BEEN FIXED!!
Rev Up Transmedia on Understanding Stereo and Mono in Premiere Pro
I have to admit this blew my mind when I saw it in Premiere. I had already been annoyed by Stereo or mono tracks in AVID, and having Mono and Stereo clips in the same track just seemed insane, but this article does a pretty good of explaining it and how you can avoid it if you would like as well.
AbelCine on home to import Sony F5/F55 Footage into FCP 7, AVID and Premiere Pro
ReTooled.net on new features of Premiere Pro CC 7.1 Update
The new overlay features are very exciting, as are the ability to export video with them. Hello rough cuts with timecode that show clip timecode too. NICE!
And the SpeedGrade integration means I really need to delve into that program soon.
Kylee Wall at Creative Cow on Premiere Pro
I have completely lost my aversion to Premiere Pro, and in fact really like it now, and love the After Effects integration. I do agree that Adobe software does get random problems that are hard to solve (I find a complete uninstall usually helps, but is a total pain), but it is a really powerful editor. And honestly being back on Media Composer feels like using a dinosaur. Sure it is mostly stable, but it is not like it does not have issues too.
And FCP 7, well I loved it, and will miss it, but FCP X is not it's replacement. It is a powerful editing program, but I don't like it's timeline or how it forces you to do things in certain ways, so it will never work for much of what I do (though I am sure some day I will have to delve back into it's dark waters).
Scott Simmons at PVC on his 5 favorite new features of the new Premiere Pro Creative Cloud Update
Over 150 New Features being added to Adobe Creative Cloud Video
Steve Forde at the Adobe After Effects Blog has a post on the new After Effects Features.
The Adobe Premiere Pro Work area Blog has more on Premiere Pro, Media Encoder (which now has GPU enabled rendering!) and Prelude and Prelude Live Logger.
The Adobe Moving Colors blog has more on the SpeedGrade Upgrade which includes direct link (an improvement over Dynamic Linking which you can see more about here) and GPU acceleration.
Thank you Adobe, looking forward to it! And here's to hoping that Adobe permanently keeps up this rapid pace of development, except it will certainly keep us editors on our toes, as I have just scratched the surface of CC by now! Ha!
10 Things Final Cut Pro 7 Switchers Should know about Premiere Pro CC (Video)
Ryan E. Walters on why he has moved to Premiere Pro and not FCP X
10 New Premiere Pro CC Features Final Cut Pro Editors will Love
The Edit Doctor on NVIDIA Quadro Performance speeds with Premiere CC and my worries on new MacPro
And this is why I worry about the new MacPro. OpenCL acceleration is not nearly as fast as CUDA on the PC, and the Mac has always had a far inferior OpenCL installation. Multi GPU's are incredibly hard to code for and only give moderate performance enhancements on even the most mutli-GPU aware games on the PC, so they are only for the most hard core of gamers. The only exception to this is a Maximus configuration from NVIDIA which is a Quadro with a TESTLA card (the non-consumer version of a Titan), which has incredible power and speed and really can use both processors. This all leaves the new MacPro in the code. Most software won't be coded for multiple AMD GPU's and even if they are the performance increases are usually pretty modest, and OpenCL can't touch CUDA! So why made a new "pro" machine without the option for CUDA? The only argument I can see if form over function, and that seems to be what the new MacPro is all about!
Adobe Creative Cloud issues talked to Adobe Tech Support and they didn't help
Adobe Creative Cloud doesn't work for me at all!
Adobe Premiere Pro CC Help Page
Possible fix for Importing FCP 7 projects into Premiere Pro
USC moving from Final Cut Pro to Adobe Premiere Pro
Coen's move from Final Cut Pro to Premiere Pro for next film
Seems inevitable since they edit their own stuff, and FCP 7 is dead and and I would not want to edit a feature on the FCP X timeline.
Richard Harrington posts 2 Free Adobe Premiere Pro Plugins
Improved GPU SUpport in Adobe Premiere Pro CC
It claims that the 64 Bit Architechture, the massively multi-threaded CPU optimization allow you to work without a great GPU, but with one is where things really shine, as we all know. And I love that you can enable a not officially supported card within the program without searching out the card name and modifying files. You can also use multiple GPU's for export though not for playback.
DSLR Editing Overview and Workflow Basics in Adobe Premiere Pro CC
Adobe Premiere Pro and After Effects Sync Settings
Here is the info fro Premiere Pro and for After Effects which can sync preferences, keyboard shortcuts, output module templates, render settings templates, composition settings presets and interpretation rules.
This very very cool. Can carry your settings with you, without carrying them. VERY VERY COOL! Especially for us freelancers, who work in different offices all the time!
Premiere Next best features from Walter Biscardi
Todd Kopriva on Premiere Pro Multi-Camera with Synchronized Audio
Scott Simmons at PVC chats with Al Mooney of Adobe about the next Premiere Pro
Worth Checking out.
PVC Early look of new Premiere Pro
This is getting me even more excited. The best thing is actually way down in the article, that you can now view audio with one click or keystroke in the viewer! Woohoo! Back to FCP 7 style ease of audio editing in the viewer!
And i sure do hope my Behringer MIDI control surface will work and not just EUCON and Makie surfaces! Hopefully any MIDI surface will work! Please please please Adobe!!
I do love that they are listening, even if it seems to take a little while, it certainly is faster than Apple ever did, if they ever listened at all, which to me FCP X proves they have not.
Now I just hope more companies chose Adobe over AVID, especially with the NVIDIA GTX 680 coming out for Macs!
Adobe on the new Premiere Pro
the next version of Adobe Premiere Pro offers a slew of new features and refinements that let you move through your projects efficiently and intuitively, including Editing Finesse workflow enhancements, Link & Locate to help you find files faster, an expanded audio toolset, an even more responsive Mercury Playback Engine, and a powerful new closed captioning workflow. We’ve also added the Lumetri Deep Color Engine to Premiere Pro, so you can apply .look files from Adobe SpeedGrade to your clips and cut with the aesthetic of the grade. A library of preset Lumetri looks is included, offering simple, beautiful looks without leaving the application.
And the Top New features:
▪ Editing finesse: multiple refined tools and workflows to help you work faster than ever
▪ Redesigned Timeline: a cleaner look and feel for intuitive workflows
▪ Customizable track headers with the option to save track header presets
▪ Duplicate frame markers: see which frames have already been used
▪ Paste attributes: paste the attributes of customized effects
▪ Link & Locate: Allows for much faster and simpler clip relinking and media management
▪ Lumetri Deep Color Engine: Apply rich color presets to clips from the new Lumetri Looks browser, or apply LUTs or .look files from Adobe SpeedGrade to clips
▪ New Audio Clip Mixer for adjusting levels on individual clips
▪ Audio control surface support
▪ New audio Plug-ins including the TC Electronic Loudness meter
▪ Support for VST3 and Audio Unit plugins (Mac OS only)
▪ Adobe Anywhere for video integration. Just launched, Adobe Anywhere is a modern, collaborative workflow platform that empowers users of Adobe video tools to work together, using centralized media, across any network. Learn more here.
▪ Industry-standard mezzanine codecs DNxHD (in MXF), and ProRes are built-in(ProRes encode requires Mac OS X 10.8.x)
▪ Natively edit more formats including Sony XAVC and Panasonic AVC-Intra 200
▪ Import, edit, repurpose, and export Closed Captions
▪ OpenCL and CUDA support on Mac and Windows, and far more supported GPUs than ever before (plus the ability to enable an unsupported GPU)
▪ AAF and XML import improvements to allow you to move projects and sequences from Avid and Final Cut Pro 7 (or earlier) systems
Not Knowing more, I am most excited about being able to Paste any attributes, duplicate frame markers, Link & Locate (WOOHOO, this will save so much time), audio control surface support, ADOBE ANYWHERE which I have talked about before, and am so excited to be able to have centralized media and edit from anywhere, better CUDA support including being able to enable unsupported GPU's!
And check the site for the full list of new features which is extensive. They really are listening! What a concept from an editing software company as Apple never did, and you never knew with AVID.
Adobe releases NAB Sneak Peaks of it's video apps! UPDATED
Check it out over at Adobe where they have a bunch of videos of new features being shown at NAB! Woohoo, wish I was there!
Premiere is really getting controllable paste attributes! WOOHOO!!! I am so excited about Premiere Pro, it finally looks like it really is Final Cut Pro 8, but with so much more. And the Link & Locate was so necessary. And really powerful audio, and the integration with speedgrade and realtime looks very exciting. And it looks so much better working with audio, and I am hoping that it's control surfaces works with any MIDI controlled surface. I love that Adobe listens to it's users!!!
After Effects just looks amazing. And the Warp Stabilizer VFX seems unbelievably powerful. And the 3D pipeline looks awesome, though it makes me wish I had Cinema and knew Cinema 4D!
And is it just me or is it cool to see Wes Plate from Automatic Duck running Prelude? And the script integration just seems amazing! Especially with transcripts! That will speed things up so much, and be useful across the industry! Wow! And being able to edit using the script is insane. You can make a paper cut so fast it is a joke!
Speedgrade gets a more of an adobe makeover, and lets you rename grades in layers and add snapshots and save them so you can easily make different grades, and work better on portable machines, and even have 2 playheads in the timeline to easily pick frames you want to grade to and from, or have 3 up as well! Sounds much improved!!!
Adobe Story has really grown up and looks incredibly powerful!
Really need to spend time with Speedgrade as the new color match looks powerful and it's engine integration in Premiere Pro looks especially impressive. And being able to use Targa files from Photoshop or Lightroom (has to be exported from Photoshop not Lightroom) to drive shot matching looks very very cool.
And the Audition Loudness radar seems very interesting.
More feature request for Adobe Premiere Pro and Media Encorder CS6
So I am delivering a show that was cut in Final Cut Pro, that was cut in 23.976, but needs to be delivered at 29.97, so I was using Adobe Media Encoder to do the conversion, but found I could only do it if I want either a single stereo audio track or a single mono mix-down.
I don't have the ability to compress a version with dual or more mono tracks (or a stereo and dual mono).
Often I have to deliver shows with a stereo mix, and dual monos one with dialogue, and the other with music and FX, but I can't do that with Adobe Media Encoder, so I have had to go back to the super slow Apple Compressor to do my compressions.
Not only could Media Encoder us a pass through, so if you have a clip with 4 audio tracks uncompressed, then just re-write it in the new file exactly as it was, but it also needs to at least be able to separate dual mono tracks so you can at least do stems on the textless version.
The other is that Premiere Pro really needs to be able to paste individual attributes of a clip, just like Final Cut Pro 7. Just being able to paste all attributes is less than useless in most cases!
I just brought all of my reels into Premiere Pro from Final Cut Pro 7 because I wanted to use Adobe Encore to make a new DVD and somehow all my clips had there volume put to negative infinite, so I have had to individually raise the volume one each clip, which was an incredible pain.
And yes I have put in Feature requests at Adobe, but I have been putting in the individual attributes since CS 5.0, so I am not holding my breath.
Premium Beat on using Adobe Prelude for Ingest
Neptune Salad on FCP X 2 Years In
NVIDIA GTX TITAN
Kotaku has an article on the newly announced NVIDIA Geforce GTX Titan Video Card! With 2688 CUDA cores, 6 GB of Video RAM and the same processor as the NVIDIA Tesla G20X this would be a Premiere Pro dream card for $1000! Sure a MacPro couldn't couldn't power it, but we can always dream!
NVIDIA has a page on the Titan now. Damn I would love one!
Under $1000 for a way to monitor 1080p with worldwide frame rates using thunderbolt
2012 iMac faster than Mac Pro with Radeon HD 5870 in DaVinci Resolve and Premiere Pro CS6
I have a feeling my non Mobile NVIDIA GeForce GTX 670 4096 MB would slaughter the iMac in anything CUDA aware, which would be Premiere Pro, After Effects or DaVinci Resolve.
FX Factory Updated to 4.0 now with Premiere CS6 Support
Noise Industries has upgraded the FxFactory to 4.0 and added Premiere Pro CS 6 Support. I have a ton of their compatible and free plug ins, but don't actually own this suite (always thought it was a tad expensive), but this gives me one more reason, as I have moved from any version of Final Cut and now prefer Premiere Pro (though I of course still have Media Composer which works with very few plug ins).
The new iMac
Most impressive for editing are NVIDIA Mobile processors across the line, so they should all be great for CUDA in Premiere Pro. The low end has a GT 640M with 512MB of RAM, the second has a GT 650M with 512MB, the 3rd has a GTX 660m with 512MB and the high end has a GTX 675 with 1GB of RAM (best for editing right there). Even better the high end is configurable to a Geforce GTX 680MX with 2GB of RAM!
Too bad ll the stock models have i5 processors, but you can upgrade to an i7 that is 3.4Ghz. The high end also has user addable RAM, though the smaller model is soldered, but comes with 8GB to start.
Another exciting upgrade is the Fusion Drive you can get in BTO. It has 128GB of Flash Ram tied to 1 or 3 TB of regular hard drive, so your system can be on the fast Fusion, but you seamlessly get FLASH speeds for your system.
Starting at $1299-$1999 and available in November to December.
You have to configure it, but it really could be a great editing machine, especially with Thunderbolt, though I would prefer a non-mobile video card personally.
FCP.Co on installing a PC GTX570 in a MacPro
Still you can score over 1000 on Luxmark if you go for a GTX670 instead (which has a huge amount more of CUDA cores, and can still draw it's power from the internal power supply instead of say a 680, which would require an external power source to run), but they are not as well supported on the Mac. Either way you will need to go to Netkas to get some instruction and some help (though some of the help can be rather surly, but it is worth it if can really beef up using your MacPro). Someone at Netkas has also figure out how to Firmware update recent MacPro's to the latest firmware for the newest itineration, allowing beefier XEON's into your old MacPro.
The instructions are pretty easy, but I have found that they don't always work, so think about re-installing your NVIDIA drivers once you are done, as that did it for me.
You will also need to do some hacking to Premiere Pro and After Effects to get them working with the CUDA cores on a new video card.
StudioDaily on using Premiere Pro CS6 on SNL
Still I am surprised it is all Mac, but they obviously had Macs for Final Cut. So far I am impressed with CS6, but there have been some stability issues for me, especially with CUDA, though hopefully that last NVIDIA update fixed that. I would think PC's would be faster and more stable, though I do still love my Mac. They had just better make a really kick ass MacPro really damn soon!
CoreMelt releases free ActiveText for Premiere Pro
CoreMelt has released the free ActiveText plug in for creating text with pre-animated templates, no keyframes.
I am not too much of a fan of templated effects, but you really can't argue with free.
Stock Footage Pond 5 Plug In for Premiere Pro
Pond 5 has released a new plug in to search for stock footage from within Premiere Pro. You can browse their library, and automatically import free watermarked clips into your project, and if you purchase the clips, you can automatically conform to replace the clips with full versions! A very cool idea!
iChat theater has issues, but is still a wonderful solution that Adobe and AVID need to implement
Sure you can share your screen with Skype, but that shared the whole screen, timeline and all, and the video is small. iChat theater allows you to share just what is playing back from Final Cut Pro. It is awesome for editors who like to work at home, and producers who like to do the same. And it works very well overall.
The problem is that Final Cut Pro 7 is EOL and will never be updated again, and is really showing it's age. Sure many companies have such an investment that they are still using it before the go with AVID (though I prefer Premiere Pro, if only it were more stable). And neither Premier Pro or Media Composer have anything like it.
iChat theater and Final Cut Pro 7 is an elegant solution to a problem that is very relevant today (editors working remotely), and a new solution needs to be implemented in AVID and Premiere Pro.
I wonder if it could be done via a plug in like BlackMagic or AJA, as if it was going out via video to Messages or Skype or a proprietary messaging program? The thing is it is such a great piece of software that the competitors need it (even if FCP X doesn't have it anymore either).
Working from home means companies need less edit bays, editors get more sanity from not driving, and it is better for the environment not having to drive, so someone please come up with a solution and fast!
How to unlock Adobe Premiere CS5, CS5.5 and CS6 to work with almost any CUDA Card
NVIDIA admits issues with CUDA 5.0.17 and 5.0.24 driver with Premiere Pro
- There is a known issue in this release where forcing or allowing the system to go to sleep while running CUDA applications on 2012 MacBook Pro models with automatic graphics switching will cause a system crash (kernel panic). You can prevent the computer from automatically going to sleep by setting the Computer Sleep option slider to Never in the Energy Saver pane of the System Preferences.
- There is a known issue in this release where CUDA applications will not automatically engage the discrete GPU on 2012 MacBook Pro models with automatic graphics switching. To run CUDA applications, it is necessary to uncheck the Automatic Graphics Switching checkbox in the Energy Saver pane of the System Preferences.
Hmm, doesn't sound like the same issue that I have been having, but hopefully it is similar, and accounts for the Premiere Pro instability.
Richard Harrington posts Premiere Pro CS6 Titler Keyboard Shortcuts
Some quick likes and dislikes of editing a recent project with Premiere Pro CS6
Over the last 2 days I cut a short film on Premiere Pro CS6. It was shot on a Canon 5D and I had no time to convert the footage, so I figured Premiere Pro was the way to go because I wouldn't need to re-compress the footage.
I used Plural Eyes to sync the footage to the external microphone, and it worked, though took some finessing, and some manual syncing and I would say it got about 75% of it.
Then I started cutting and had all the crash issues from my earlier post on the NVIDIA GTX 285, but was able to switch to my NVIDIA QUADRO FX 48000 and mostly cleared up the issues. No more serious Error messages, and no more screen going black. Still some random crashes, but nothing too bad, that a quick restart wouldn't get running again.
I was running the footage out of premiere pro through my DV deck to an external NTSC monitor, and it looked great.
Now I edit in Apple Final Cut Pro 7 and AVID Media Composer, but have always preferred some things of Final Cut Pro. And there are some things about Premiere Pro that I like and some I don't.
I don't like how you can only set a duration for your default transition in Premiere Pro, and you can't set up a favorites bin of effects either per project or within the system. I would always make a bin of favorites in Final Cut Pro with various lengths, and was quickly able to apply any transition I wanted.
I also don't like how on a clip in the timeline that is not butted up to another clip, all transitions start at it's cut and can't be put center on the cut or ending at the cut. You have to extend the clip to make the transition go further than the cut. Now it is pretty easy if you select the cut first as you can just hit E to extend the clip to the playhead, even if a transition is already on it. And I have set command-D to apply the default transition, so I can easily extend clips and apply the default transition with one hand (awesome), but I still want a bin of my favorite effects, and if not in the effects browser, let me do them in the project like I can do with AVID.
The integration with Adobe After Effects is a thing of beauty. Just being able to make changes so quickly is totally awesome. Once you have either imported a After Effects Sequence or sent files to one from Premiere, you just save changes in AE and they show up in Premiere, and you render in Premiere. AWESOME! This makes Premiere the best program for graphics intensive stuff bar none. I think Premiere Pro should become the premiere program for Direct Response because of this alone!
When Snapping is turned on, why does the cut tool not snap to the playhead. Now it seems to still cut at the playhead if you are close, but if that is the case, why not snap?
I really don't like the Time Remapping feature within a clips effects pallet. It is a different kind of keyframe, where you split it to make it softer, but doesn't work nearly as well as just being able to bezier curve it, or even easy ease or or ease in and out. This should be just like it is in After Effects and it just ins't, and doesn't work as well because of it!
Honestly I had some trouble with the select all to the right tool (hold down A to activate). It sometimes put tracks out of sync on me. And it only does one track unless you hold down shift and click while holding shift to select all. I like how you would hit A twice to change it in Final Cut, and think having to hold down 2 keys makes it more difficult.
I don't like the track selection tools. I keymapped the select all audio and video selections, but they don't seem to always work, and I often had to manually turn tracks on and off. Now this is slightly upset by not having to set tracks to ripple delete gaps between clips, or even when you do an extract, but still I like how you can option click in Final Cut to select just that track, and think Premiere Pro could use that functionality (as well as making the select and deselect all tracks actually work all the time).
I would like the audio waveform in clips to be a tab like it is in Final Cut Pro. I know you can switch it via right clicking and going down a level and selecting Audio Track, but that is making it much more difficult, than just a tab, which can be quickly switched to. It is better than AVID, as I like to see my Audio in the VIewer and not in the Timeline), but still has too many steps to do something I do so often.
And I know it is a problem with audio from 2 sources, but I hate not being able to go into the audio linked to the video and open it in the viewer and put markers in it for where i want to cut. I often work this way in Final cut Pro, as the audio waveform is so much bigger in the viewer than the timeline, but here Ic couldn't do it as it was linked to different video I think. I would love to be able to wrap the new audio with the video so it acts like a normal clip and you could use it like it is a single piece of audio and video.
Overall I have really enjoyed using Premiere Pro (though some of the keyboard shortcuts still vex me), and would like to see it supplant Final Cut Pro, because while i like AVID, it is still the same old program, and Premiere feels more powerful, and faster (with a CUDA card at least). I plan on posting more impressions on it in the future.
Scott Simmons at PVC has 105 Adobe Premiere Pro CS6 Questions Answered
Check out Scott Simmons 105 Premiere Pro CS6 Questions answered. A must read for all editors looking at Premiere Pro.
Premiere Pro CS6 having some serious issues with NVIDIA GTX 285
I found this thread on the Adobe Forums, and found my exact problem.
I'm on a MacPro 4,1, Lion 10.7.4, CS6.0.1, 32GB RAM, GTX 285 with the latest nVidia and CUDA drivers. I am seeing 2 primary issues:
Lots of Serious Error crashes. This happens without any noticeable pattern - sometimes with the title tool, trim monitor, or simply just scrubbing the timeline. It seems to happen more frequently with Dynamic Links in the timeline. Also, I believe it is happening more often (or maybe exclusively) with the MPE GPU option enabled. I think in Software Only mode, it may not be present, although further testing required.
Also, I am having an issue where Pr will display black only in the source and program monitors, unless I click around the timeline and will get flashes of images. This is remedied by changing over to Software Only for the MPE. It seems to be worse if Safari is running.
I was having the same issues exactly, and have the same system setup, but with only 24 GB of RAM, and am running Mountain Lion 10.8.0. I kept having to trash my prefs which worked for about 5 minutes before I crashed again.
So I decided to remove the GTC285 and put in my QUADRO FX 4800. It is old and slow, but still pretty decent. I installed it about 2 hours ago, and Premiere Pro has been rock solid afterwards.
This shows it is either an NVIDIA driver or CUDA issue, or something in the Premiere Code with the GTX 285, as with the QUADRO FX 4800 it is running like a dream.
Adobe and NVIDIA need to fix this fast, because this is a major issue. If it was not for me having a spare video card I would have been SOL, as I have to finish this project and fast!
UPDATE: Had one crash after 3 and a half hours, but I have been saving now, back to the old paranoid saving all the time. Still unbelievable the difference with the different video card!
UPDATE AGAIN: And crashed again! OK, so not rock solid, but still much better than it was with the GTX 285.
Biscardi Creative FCP to CS6 Part 3
•Because of Native editing, they their render time is basically down to realtime render, so a 30 minute show has around a 30 minute render! That is a huge change!
•It requires more setup before hand, and it is smart to organize everything before import.
•Still using FCP 7 for videotape ingest!
•Use Davinci Resolve for grading, though it does not support all the files that Premiere Pro does, so a flattened ProRes Quicktime file is created from final timeline and use resolve's scene detect tool!
There is of course more, and this is a must read for switchers!
Larry Jordan on Adobe Prelude
I knew it was for logging and even cutting a rough assembly, but didn't realize it could export to either Premiere Pro or Final Cut Pro 7. Very cool.
And it sounds like the biggest issue is the lack of ProRES presets for Media Encorder, which I always found odd, but not hard to create for oneself.
Larry also offers a complete 2 hour tutorial on how to use Prelude at his site.
PluralEyes Connector for Premiere Pro CS6
You can download it here. For Both Mac and Windows.
Nice, can't wait to try it out.
Trouble opening a current Premiere Pro CS5.5 sequence in Premiere Pro CS6
I am trying to open my current Premiere Pro CS 5.5 project within Premiere Pro CS6, but am getting the following error message:
The preset used by one or more sequences requires third party components that could not be located.
This was a project that was imported from Final Cut Pro 7 originally, but the only 3rd party stuff used in it are Magic Bullet Suite plug ins and I have already installed them all.
I can't even see if this project has CUDA acceleration anymore, as it is set to Custom Sequence and greyed out.
Any ideas what I can do?
PVC on 10 things Final Cut Pro Editors may miss in Premiere Pro CS6
The biggest here for me is selective past and remove attributes which I use all the time in FCP and it will be an adjustment for sure.
Still all livable changes, just have to get used to it.
Todd Kopriva Free Video Tutorial of Premiere Pro CS6 New Features at Video2Brain
RE: Vision Effects updates it's Plug Ins for Adobe CS6
Personally I can't live without Twixtor and ReelSmart Motion Blur, so these are welcome updates.
LFiHD on Switching Video Output in Premiere Pro with an AJA
Premiere Pro 6 and OpenCL
Still makes me thing that in the not too distant future a PC will be my main editing machine as it will have superior CUDA support.
Adobe will keep improving Premiere Pro
The great thing about Adobe is that they do talk to their users and do listen. Look how great Premiere Pro has gotten in such a short time, and it will only get better.
Derek's Nerdblog on Premiere Pro CS6 New and Missing Features
Phillip Bloom on moving from FCP 7 to Premiere Pro 6
Sounds like the non-CUDA acceleration is pretty damn good, though as I have said I keep wishing for more NVIDIA on the mac, but it looks less and less likely to happen every day.
David Lawrence first time Premiere Pro 6 impressions from an FCP User
David Lawrence has an excellent article over at Creative Cow.
He really sums it up in a Creative Cow Forum Post.
Believe the hype, the Conan boys are right. It really is Adobe's Final Cut Pro 8.Though later says:
Is Premiere Pro 6 Adobe's Final Cut Pro 8? If you ask me, the answer is no. It's something different and potentially better. Is there room for improvement? You bet. If you miss certain features, let 'em know. They're listening.
I am so looking forward to Premiere CS6, and do hope it is an FCP 7 replacement, though that also makes me wish for more NVIDIA CUDA cards for the Mac, or it looks like editing is going to move all PC in the future.
Richard Keates on why he dropped FCP X
Unfortunately I see many places moving back to Media Composer which I do find inferior for graphics work and hope that Premiere CS6 can make some inroads. I just wish that Apple would re-commit to the MacPro and push to get powerful CUDA Nvidia cards across their line to allow people who are unhappy with FCP X to use the products they want to and stay with Mac!
Richard Harrington on Trimming in Premiere Pro CS6's timeline
Worth checking out. Great to see Premiere Pro getting AVID type trimming controls which will make AVID editors happy.
Scott Simmons at PVC on Premiere Pro 6
Biscardi on editing for now
Intro to Premiere Pro, Prelude and Encore CS6 & Mercury Transmit I/)
Top 5 Premiere Pro CS6 Features from PVC
1) Better Broadcast Monitoring
2) Hover Scrub over clips
4) Cleaner Interface
5) Effects Improvements: Adjustment Layers and Warp Stabilzer
I so can’t wait to get my hands on this!
Some more on Adobe CS6
Adobe shows off Production Premium CS6 and it looks Amazing!
Premier Pro CS6 is getting unlimited dynamic Multi-cam, built in Image Stabilization with Warp Stabilizer from AE CS5.5 and an enhanced Mercury Playback engine that will even work with some AMD video cards instead of just NVIDIA CUDA cards. It ha s anew Default Workspace, and is more customizable. It has more Audio Mixing controls. Trimming controls have been added and more customizing. A rolling Shutter repair. And of course the addition of Automatic Duck for interoperability between Final Cut Pro 7 and AVID and Premiere Pro. And it will edit 5K for RED compatibility.
Yes! Adobe has been listening and it looks like Premiere Pro CS6 is going to be a power house editing tool!
After Effects CS6 has enhancements to it’s render cache, were renders can be saved with projects, a full 3D camera Tracker, a Ray Trace 3D rendering engine (that looks to give Zaxwerks a run for it’s money), variable mask feathering, and built in Automatic Duck, so it will work with Avid Media Composer and Final Cut 7 files! Nice! Mocha will also be better integrated so you can launch Mocha from within AE (and Mocha is set to get updates at NAB as well).
A new edition to the suite is Prelude CS6 for ingest, logging and organization as well as transcoding of files.
Audition CS6 also gets updated and has smooth project exchange between Premiere Pro and third party nonlinear editors. Has real time clip stretching, automatic speech alignment and pitch correction. Better control surface control with automation.
And an exciting new addition is this suits version of Color, the recently purchases SpeedGrade. A 64 Bit GPU accelerated Color Correction tool. This is really necessary especially with DaVinci software basically being made free from Black Magic.
It really sounds like Adobe has been listening, and is making their editing suite a powerhouse that can really replace Final Cut Pro 7 and easily go head to head with AVID with even more powerful tools. I can’t wait to try this suite out!
AVID releases AVID Studio for the iPad
'Swiftly arrange your clips in the Storyboard, make precision edits using the Timeline, and add high-quality transitions, effects, and a soundtrack.Then share your movie directly to YouTube, Facebook, and more—or export your project to Avid Studio for the PC and continue editing with even more advanced tools.'Easily Access Your Media
Work with any media on your device—video, audio, and photos
Access media from external devices via an iPad Camera Connection Kit (sold separately)
Capture video and photos from within the app
See your media organized by Albums, Events, Faces, and moreEdit
Get started quickly with how-to materials
Easily navigate your project with intuitive gestures
Swiftly arrange clips in the Storyboard
Make precise edits and trim individual frames in the Precision Trimmer
Use the Razor Blade tool to cut on the fly and delete or replace the second half of the clip
Easily replace one clip with anotherEnhance
Quickly create multi-layer 3D animations, transitions, and titles with included Montage templates
Easily composite video tracks to create layered looks
Add high-quality fades and dissolves to help your story flow
Generate professional-looking motion titles and graphics with full control over text, font, color, size, position, and rotation
Create amazing Picture-in-Picture effects with full control over position, size, and rotation
Pan and zoom on your photos to create high-impact slideshows
Enjoy full-screen playbackCreate Soundtracks
Use your own audio or choose from the included sound effects
Trim audio to any length, set levels, and fade audio in or outShare
Easily share movies via YouTube, Facebook, email, and much more
Export projects to Avid Studio for the PCPro Technology, Pro Results
Created by Avid, the maker of the world’s leading film and music editing technology
Easy enough for the hobbyist, powerful enough for the pro
Intelligent Assistance's Premiere Pro Tools
Sequence Clip Exporter
It's tedious to spend days preparing shot lists and music cue sheets using EDLs. Instead, generate comprehensive reports in seconds direct to a fully formatted Excel spreadsheet for just $99 with Sequence Clip Reporter, saving hundreds of dollars of your time
prEdit is a dramatically new way to deal with transcripts, story and the first edit. From transcript... to paper cut... to sequence for just $395.
Adobe's voice recognition technology has been locked to the Adobe CS4 and CS5 Production Premium tools. But with Transcriptize you can extract the transcription to text files, Excel spreadsheets, and place it in Markers in the Final Cut Pro clip. Now you can use the Adobe speech transcriptions in your workflow for just $149.
I knew they made FCP 7 utilities, and now FCP X to FCP 7 utilities, but I didn’t know about their Premiere Pro utilities. Sequence Clip Exporter would pay for itself in about a job, and the others could be even more useful, depending on the job. These are apps to keep an eye on.
Biscardi Creative on how to Fix DNxHD Quicktime Stutter in Premiere Pro CS 5..5.2
Scott Simons at the EditBlog on PVC comparing Premiere Pro and FCP 7's Timelines
This is really a must read for all switchers from Final Cut Pro 7 to Adobe Premiere Pro CS5.5, as it gives a full rundown of the similarities and differences in the 2 different timelines!
Premiere Pro 5.5.1 not working with CUDA in Lion 10.7.1: FIXED
I have reported this to Adobe and to NVIDIA, but have not heard anything back as of yet.
I did a complete Adobe uninstall and re-installed and I have CUDA support back. So something just wasn’t happy. Have to check on my plug ins now, but at least it is working correctly.
Premiere Pro 5.5.1 Released
Here are the bug fixes:
- Improved playback/scrubbing performance of footage from DSLR cameras.
- Media from Avid Unity QuickTime reference files was not imported.
- XML project files created by Premiere Pro did not work with DaVinci Resolve.
- On Mac OSX v10.7 (Lion), the Universal Counting Leader was missing countdown numbers.
- On Mac OSX v10.7 (Lion), Premiere Pro would crash when quitting.
- On Mac OSX v10.7 (Lion), closed caption overlays did not appear in Program Monitor.
- Preview in the Capture panel was not functioning properly for HDV footage.
- Image sequences lost their frame rates.
- Edges of a clip were highlighted during transitions/dissolves when using CUDA processing.
- Projects created by importing Final Cut Pro XML projects that contain multiple mono clips would lose some audio when the project was closed and reopened.
- Exporting to a QuickTime movie using DVCPRO HD settings would not complete under some circumstances, including if an image, graphic, or synthetic element was in the sequence.
- Using CUDA-accelerated Invert effect would reposition the clip.
- Premiere Pro could not find files after changing the location of the project.
- If an After Effects composition with a background color other than black was included in a sequence and Mercury Playback GPU Acceleration was enabled, the alpha channel transparency of the composition was ignored.
- MXF files created by Premiere Pro were not readable by Sony XDCAM HD decks, Final Cut Pro, or Avid Media Composer.
- ProRes files created by an ATOMOS device with four tracks of audio were not imported correctly.
- MCC closed caption files exported from MacCaption failed to appear in the Premiere Pro Program Monitor under some conditions.
- Incorrect data was being written to XML files for AVC Intra exports.
- Opacity effects were being ignored after a second transition when CUDA processing (Mercury Playback Engine GPU Acceleration) was enabled.
- Premiere Pro would hang or crash when loading a merged clip with disabled audio channels.
- various other crashes
No word on the 64 Bit Kernel Issue.
You can download the Mac Version here, or the Windows Version Here.
Adobe has a 45% gain after Apple releases FCPX!
And if you cared, you would have released an update to FCP X by now, but obviously you have not, so your claims to caring are shown to be hollow!
Digital Rebelion on 18 Features Premiere needs to borrow from FCP 7
Though I doubt you will ever be able to open multiple projects as you can’t in After Effects either (only import projects into each other). Still it would be nice!
FilmRiot is Premiere better than FCP
Biscardi Creative on Premiere and AVID with Davinci Resolve
It looks like there is no easy solution right now, as Resolve reads Premiere’s XML, but not all of it’s media is compatible, and you need a $500 plug in to make it work with AVID. Otherwise you basically need to export a quicktime and use scene detection to make a grade (so no dissolves).
Not an ideal solution for sure.
Top Kopriva of Adobe posts on Premiere Pro Issue
Scroll Wheel in Premier Pro
I am sure anyone who has tried premiere pro sees that scrolling with a mouse in Premiere Pro moves you down the timeline and doesn’t reveal tracks, but you can still scroll by hovering over the scroll bars and using the wheel, and it can also zoom the timeline if you hold down the option key (though I would like to see a setting to change the scrolling behavior from right to left to up and down).
Biscardi Creative switches to Premiere Pro
There’s been so much talk about a “new paradigm” and “a new beginning” lately courtesy of Apple. Defenders of the “new paradigm” are quick to point out that this is an entirely new application, nothing like it has ever been done, therefore, Apple had to break with all convention to create Final Cut Pro X. It’s stripped down now, like Final Cut Pro 1, but give it time and the things we “need” will be added back over time. It has so much “potential for the future.”
The more I work with Adobe Premiere Pro the more I just don’t understand that mentality. Why wait? Premiere Pro already includes the “missing elements” of FCP X and so much more it can’t do.
He goes on to say that despite all the protesting in forums he transferred over a large project to Premiere Pro final Cut Pro 7 and it all worked perfectly, he loves all the realtime effects, and also how Adobe Media Encoder can look into Premiere Pro and After Effects projects and render individual sequences without having to open the host apps, which for him, and for me is huge! You don’t have to export a quicktime movie and you don’t have to give up the host app to to the compression. THAT IS SO COOL, AND SO USEFUL! TALK ABOUT A TIME SAVER!
Karl Soulé addition info Premiere Pro
Thanks Karl. Worth checking out.
Karl Soulé at The Video Road shows how to do a ProRes Setup in Premier Pro
Premiere Pro Annoyance
Premiere Pro with Client in the Room Article
It is a must read for an Final Cut Pro 7 switcher. And has some great stuff on using it with an external monitor with either a Kona or a Matrox (seems Kona works better, but still has issues, especially with a long sequence).
Check it out if you get a chance. I am already making the switch to Premiere Pro CS5.5, though I am having issues with Lion, and this points out some issues I had not realized that you have to think about.
I hadn’t realized Premier Pro doesn’t have any sort of Auto Media Relinking, that each clip must be manually found. Of course with how slow Final Cut Pro 7’s could be, this might actually be faster.
No timecode window, which is a must, though was not added all that long ago to FInal Cut Pro.
Reveal in Project from Source Window! A no brainer since you can do it from the sequence!
Check out the whole article. It is worth checking out.
Adobe just blew me away! Wow!
Well for my request to add a duplicate clip showing in the timeline, I got a response! And one that points out all the features in the program that are similar. I am so impressed by this!
Thanks for your request and feedback. I'll add your name to the list of requestors for this feature request.
Premiere has clip usage indicators, which isn't quite what you're looking for (indicators in the Timeline), but can be very useful and is a feature that neither FCP nor Avid have.
You can turn on the Video Usage and Audio Usage data columns in the Project panel (list view mode). In the flyout menu (accessed via the widget in the upper right of each panel), choose Metadata Preferences. Then either do a search for "usage", or twirl open the Premiere Pro Project Metadata section and put a check in the Video and Audio Usage properties so they'll show up in the List View of the Project panel. You can rearrange the data columns in the Project panel so you can see these usage indicator columns while you're editing. Now each time a clip is used, the usage count indicates the number of uses across all sequences in the project. For example, this is great for monitoring which clips have been used in cutaways already and which clips are unused and available.
If you need more specific usage information, here's another tip: in the Preview Area (the top of the Project panel with the thumbnail previewer and clip info), when a clip is used in any sequence, "video used x times" or "audio used x times" appears next to the video and audio type description. And if you click on the small drop-down arrow next to the usage info, a popup menu reveals a list of the sequences the selected clip is used in, with its timecode location in each sequence usage. PLUS, if you select one of these locations in the usage popup menu, that sequence is opened and the playhead is parked at the timecode where the clip is actually used. This is one of Premiere's "best kept secrets" and we're working on making the feature much more discoverable.
David Kuspa | Adobe | Sr. Experience Designer, Dynamic Media
AWESOME! Adobe you are doing something right and winning a convert. My only complaint is your level 1 tech support in India is not good at all, and doesn’t really help until you get to tier 2 for the most part.
Premiere Pro in Lion Update 2
- OK, so NVIDIA has been able to re-create the problem, and there is a workaround. You must force the Mac into 64 Bit mode (If it can handle it). This Apple Tech Support Document gives how you can do it permanently or for a single boot.
If your Mac uses the 32-bit kernel by default, but supports the 64-bit kernel, you can start up using the 64-bit kernel by holding the 6 and 4 keys during startup.
To select the 64-bit kernel for the current startup disk, use the following command in Terminal:
sudo systemsetup -setkernelbootarchitecture x86_64
To select the 32-bit kernel for the current startup disk, use the following command in Terminal:
sudo systemsetup -setkernelbootarchitecture i386
Premiere Pro Feature Requests
- Clip Dupe Detection in the Timeline. Both AVID and Final Cut Pro 7 have this. As it is often important to not repeat shots in Commercials, the ability to see a visual representation which shows which clips are repeated is an essential feature.
- MIDI interface. With Final Cut Pro I uses a Behringer BFC-2000 to be able to do a good audio mix within Final Cut Pro using it's automation controls. This would be a perfect pairing with the Audio Mixer in Premiere, and it is frustrating that only Audition has the ability to interface with MIDI controls as I would prefer to be able to mix directly within Premiere Pro.
- In the Title Overlays Final Cut Pro includes markers for 4:3 center cut within a 16:9 project, which I am often using (HD project for SD 4:3 delivery).
- A re-sizeable, movable Timecode window, like the added to Final Cut in FCP 7.
- Reveal in project from Source monitor and not just from the sequence.