Author Archive: amooney

Premiere Pro – It Isn’t Finished…

We’ve all had a phenomenal time recently launching Premiere Pro CS6 into the wild and hope you’re having fun with it. CS6 has been a real labor of love for us and it’s great to get such positive feedback from editors trying it out for the first time.


But I want to make this clear in case you thought we were all now planning to sit on a beach in Hawaii sipping cocktails for the foreseeable future – we’re not finished, and not by any means. We’ve released a major update every year for the last several, and are excited by the possibilities for interim updates offered to us by the Creative Cloud. CS6 was born out of intently listening to real-world editors and getting feedback, and as we move into planning our future, that feedback is what we need the most, to keep us on track, building an application that you love and want to use.


There are various ways to give us your feedback, but the best way to request features is to go here. And see here for other ways. Don’t hold back. We can take it.


I also want to point out that some features in CS6 are in their infancy, and if you like what you’ve seen so far – well, you’ll love what’s coming. We worked hard to get a lot of brand new technology under the hood in this release – effects acceleration and how we connect with third-party hardware, for example – and are excited by what the future has in store.


We’re in this for the long haul, and we can’t build an app you love without hearing from you. So keep those requests coming. Now if you’ll excuse me, I must sign off. I need to top up my sunscreen and grab another Margarita.

the all new premiere pro…

Today is a really big day here at Adobe. Today is the day we on the Adobe Premiere Pro team – indeed, all of us from the Professional Video group  – have been (im)patiently waiting for, for what seems like an eternity. Today we’re revealing CS6 Production Premium to the world, and the best version of Adobe Premiere Pro ever, in CS6. All the info is here (and be sure to look at the Premiere Pro specific link to the right to get all the juicy facts on what’s new). Cue the clinking of the glasses of many a hard-working engineer and tester (and the odd Product Manager or two, too).


Premiere Pro CS6 comes just 12 months after our last big update (CS5.5), but this is a massive release, and the entire team is extremely proud of what we’ve been able to accomplish. We’ve already built a very powerful system under-the-hood with the (Freddie) Mercury Playback Engine (which has been further improved in this release) and so this time we wanted to focus on the overall editing experience – on how it feels to spend real time with Premiere Pro in those long creative edit sessions. Based on extensive discussions with professional video editors, we’ve put our efforts on building a sleek new user interface with a square focus on what matters to a video editor most – the media – and optimized or redesigned features crucial to editing today, like multicam, audio, trimming, and so much more. We think this is the best editor in the world and hope you do too… (I know every dad says this about their newborn, but it’s gorgeous, right?)


For those of you who are going to be in Vegas for NAB next week, be sure to come to the Adobe stand (SL#2624) and see it in action – or indeed at any one of our ever-increasing number of partners’ plots at the show. If you can’t make it, I’m sure you’ll see loads of great content on the web over the coming days (keep your eyes here for more info as it happens).


We want Premiere Pro to be the number one choice of NLE for video professionals worldwide, whatever kind of work they do, and hope you’re as excited by the CS6 release as we are. We hope to get to clink glasses with some of you out in Las Vegas next week.


Exciting News

In my last post, I talked about how important I think it is that Premiere Pro be a good, dependable ‘workflow citizen’, and hinted at some of the exciting partner-related workflows we were going to show at IBC in Amsterdam. With the show behind us, I have to say how thrilled I was to see Premiere Pro being demonstrated on so many stands other than our own. Coupled with our own demos of workflows with various third-party platforms and technologies – and that little piece of news about IRIDAS – I hope that it was clear that we are really serious about the broadcast industry.


Today, I want to share some even more exciting news with you. Ever since I started working in this industry, there has been a particular company who I’ve had huge respect for in the area of enabling workflows between different platforms and applications, and that company is called Automatic Duck.


So I’m absolutely thrilled to be able to say that Adobe and Automatic Duck are now partnering with the aim of bringing absolute best-of-breed workflow integration into Premiere Pro. This means that, as we work together, Premiere Pro’s ability to integrate with the industry’s other leading tools using technologies like AAF, XML and OMF will get stronger and stronger. And so Premiere’s ability to be a good citizen in all kinds of broadcast and post-production workflows will get better and better.


These are really exciting times for us at Adobe, and I can’t wait to start working with Wes and the guys to bring a new degree of integration capabilities to our beloved NLE.



Tulips, Pancakes, and Broadcast

It’s that time of year again, when most of us in the international broadcasting community are dusting off our name badges and very soft shoes, and getting ready to flock to Amsterdam for IBC.  I’ve lost count of the number of times I’ve been – almost as if the city in some way affects my memory – but it’s always a great place to catch up with old friends and see how this crazy industry of ours is developing and changing.

This year, Adobe’s focus at IBC will be around demonstrating workflows with our ever-expanding ecosystem of industry technology partners. As Premiere Pro continues to make amazing progress in the Broadcast and Post-production markets, it is imperative that we work hard to ensure that it isn’t just a great NLE in its own right, but a dependable ‘workflow citizen’.

At Adobe, we’ve always been very good at building tight integration between our applications, and Premiere Pro is a great example. Our ‘plan to playback’ philosophy is all about smooth, easy workflows between applications. You can start with a script in Adobe Story, import it into Premiere Pro and use it as metadata, or to derive a time-accurate speech track to edit to. You can import Photoshop and Illustrator documents and maintain critical elements like layers and blend modes. You can move freely between Premiere, After Effects and Encore via Dynamic Link. You can send your whole sequence to Audition for audio finessing, and you can drag-drop sequences from Premiere Pro right into Adobe Media Encoder for final output.

But arguably more important in broadcast workflows is integration outside of our own boxes. Premiere needs to play nicely with asset management systems, with SANs, with other NLEs and DAWs, with finishing tools, with play-out systems. So over the past few releases, we have made (and continue to strive to make) significant improvements in how our NLE interacts with the outside world. We now offer import and export of the Final Cut XML, which not only brings us interoperability with Final Cut Pro 7 and earlier, but due to its wide adoption within the industry, many other platforms and applications too. We have some support for AAF, and in our recent 5.5 release, we improved our OMF export capabilities, for smooth workflows with audio apps like Avid Pro Tools and Merging’s Pyramix. Also, for the seemingly ever-increasing number of developers who want to support our platform, we have a freely available SDK, which we plan to continue improving and embellishing.

I can’t say much yet about exactly who you’re going to see us partnering with at IBC, but we’re all really excited about it. As we continue to strive to make our applications indispensable tools for creative professionals, we’ll also be striving to expand this partner ecosystem, and offer customers the integration they need to use the tools they love. See you in Amsterdam.

A Note on Premiere Pro

It feels like a good time to start blogging.


I’m Al. I’m the guy who gets to – along with an amazing group of very talented colleagues and friends – build Premiere Pro. For some obvious and some less obvious reasons, our beloved product has been receiving a lot of attention over recent days. So it feels like a good time to express a few thoughts.


Over the last few years, we’ve been working really hard on our NLE.  Way back in April 2010 we shipped our CS5 version, a natively 64-bit cross-platform application built on the Mercury Playback Engine. It was designed to make the absolute best out of modern computational resources, CPU and GPU optimized to its very core. It was a big and bold move in a crowded NLE market, but we felt we had the right foundations in place to start turning a few heads. And turn a few heads we did.


Last month, we shipped a major update to CS5 in CS5.5. I always talk about CS5.5 as building finesse on the solid foundations of CS5, and that was our aim. We had the engine and the chassis of a race-winning car, and now we needed to make it easier to drive. We did. We focused efforts on smoothing the path for people moving over from other NLEs, or those just trying out a new one. And more heads turned.


Then, last week, Apple shipped Final Cut Pro X. I’m not here to comment on Apple’s intentions or strategy, and I won’t. But I can say this: I’ve read and heard that many editors felt alienated with the release. And I didn’t have to look far to hear the disgruntlement. It’s all over the web. It ate my Twitter feed for two days. It was on Conan. It was actually on Conan.


And as a result, understandably perhaps, even more heads have turned to look at Premiere Pro. It’s a powerful NLE that’s intuitive to existing editors. It can open your Final Cut Pro 7 projects via XML. It supports all of your media natively. It performs beautifully, and it lets you edit the way you’ve learned to, using shortcuts you know and paradigms you’re comfortable with.


But the most important thing I want to say to all the newly turning heads is simply this: Adobe is committed making a modern, powerful, useable, professional NLE. In fact, we’re developing harder and faster than ever before. We will continue updating and improving Premiere Pro with regular, timely releases. We’ll continue striving to improve performance, to offer the best native format support possible, and to make the pure experience of just editing – in the way that you’ve learnt to – as intuitive and creative as possible.


I expect that the more you experiment with Premiere Pro, the more you’ll tell us where you’d like it to go next. There will always be bumps on the learning curve with an application new to you, just as there will be things you didn’t have before and wonder how you lived without. I just want you to know that we’re listening to you, the editors, and we aim to continue building an application that you love and can rely on.


This is going to be fun.



If you have feedback to give, such as bug reports or feature requests, you can do so here. We also provide several other ways to communicate with the Premiere Pro team and keep up to date with what we’re doing:
“Premiere Pro team on Twitter and Facebook (and blogs and forums, of course)”

These resources should help you to get started with Premiere Pro if you know Final Cut Pro or Avid Media Composer:
“Premiere Pro overview documents for Final Cut Pro and Avid Media Composer users”

You can try Premiere Pro free for 30 days:
Premiere Pro 30-day free trial download