Updated desktop features, born from a collaboration with David Fincher’s Gone Girl team, and Adobe Premiere Clip, a new mobile app.
On Monday, at Adobe MAX 2014, the world’s leading creativity conference, Adobe announced the availability of new and updated free mobile apps, like the all-new Adobe Premiere Clip for iOS, and 2014.1 updates to Creative Cloud applications, including all of the video tools:
Adobe previewed the new video features at IBC 2014 last month. Key themes for the updates include: new project and media management capabilities, such as Search bins and Destination Publishing; support for cutting-edge technologies, like HiDPI Windows 8.1 displays and devices and read/write support for the GoPro CineForm intermediate codec; and more streamlined workflows, including Curves adjustments and a refined new Look workflow in SpeedGrade CC.
Introducing Adobe Premiere Clip
The MAX announcements also included the release of Adobe Premiere Clip, a brand new iOS app that makes it easy to turn footage on an iPhone or iPad into great-looking videos. The app allows users to edit and enhance video with professional looks, effects, and audio. Premiere Clip uses Creative Cloud to automatically sync projects between devices, so that users can shoot whenever they have an opportunity—and edit later when they have time. Users can also move Clip projects into Premiere Pro CC via their Creative Profile, which provides access to their rich desktop toolset.
“With Premiere Clip we’re making editing a function that is always in your hands. Our goal is to bring the tools to the media,” explained Bill Roberts, senior director of product management. “This allows people to ‘just do it’ and start making their own beautiful videos, completely on device, or to use it as a kind of sketchbook for video pros who want to rough out ideas to bring into Premiere Pro.”
Adobe Premiere Clip for iPhone and iPad is available as a free download in the iTunes App Store.
The Influence of Gone Girl
Coinciding with the recent theatrical release of Gone Girl—directed by David Fincher and edited on Premiere Pro CC by Kirk Baxter, ACE—the new updates include a number of features developed in collaboration with Team Fincher. These include larger features, like Multi-project workflows and Advanced Timeline search, workflow enhancements like EDL improvements and Render & Replace, and important details of the UI and workspace refinements, such as ripple label colors and definable marker colors, the way in- and out ranges are displayed.
“I believe this was the first major Hollywood film shot at 6K so the scope of the project was huge.” said Al Mooney, senior product manager. “We were working with an artistically-driven and incredibly technical team at the top of their game. It was an inspiring experience for us and we’re immensely proud to have been part of it.”
Fully 80 percent of Gone Girl ended up as some form of After Effects CC composition on the final Premiere Pro Timeline for the project. This gave rise to the request for the Render & Replace feature from Team Fincher. Render & Replace ensures fast playback of projects with lots of visual effects by substituting comps with rendered clips—without losing Dynamic Link integration between Premiere Pro and After Effects. “It’s exciting for us to be releasing features for all of our users that have evolved out of a collaboration with one of the best filmmakers in the business,” added Mooney.
Along with a significant update to Premiere Pro CC, all of the video tools received enhancements and new features with the 2014.1 release. For more information watch this overview video by Al Mooney.
To learn more about Adobe’s collaboration with David Fincher and his team on Gone Girl, read Gone Girl Marks Yet Another Milestone for Adobe Premiere Pro CC.
Watch the Adobe MAX 2014 launch keynote and learn more about all of the great new fall releases.
Pricing and availability
Today’s updates to Creative Cloud are available to Creative Cloud members as part of their membership at no additional cost. To join Creative Cloud, special promotional pricing is available to customers who own Adobe Creative Suite 3 or later and membership plans are available for individuals, students, photographers, teams, educational institutions, government agencies and enterprises.
Streamline video workflows with industry-leading integration
This month at IBC 2014 in Amsterdam, Adobe will preview the updates coming soon to Creative Cloud’s pro video applications. In a fast-moving industry, video pros need tools that keep them ahead of the curve, allowing them to work confidently with the latest hardware and camera formats. With regular updates, Creative Cloud meets that need, making everyday tasks faster and easier—and opens new creative possibilities with a little more Adobe magic.
- Powerful media and project management—Take control of large projects with new features like Search bins, Consolidate & Transcode, and Multi-project workflows in Adobe Premiere Pro CC.
- Support for cutting-edge technologies—Focus on the content with a refreshed user-interface across all of the video applications, including HiDPI support for Windows 8.1 and Mac Retina displays.
- Streamlined workflows—Complete everyday tasks more efficiently, thanks to new tools and refinements, such as Curve adjustments and hover preview Looks in Adobe SpeedGrade CC.
After a successful run using Premiere Pro CC to edit David Fincher’s upcoming thriller Gone Girl, two-time Academy Award winner Kirk Baxter has made Premiere Pro CC the NLE of choice for his new company, EXILE. “I’m happy to see so many of the new features we asked Adobe for during Gone Girl in the upcoming release.” —Kirk Baxter, ACE
This post provides an overview of the upcoming video releases, including many of the top features and enhancements. For more in-depth information, visit the product blogs for Adobe Premiere Pro CC, Adobe After Effects CC, Adobe SpeedGrade CC, Adobe Prelude CC, Adobe Media Encoder CC, Adobe Audition CC, and Adobe Story Plus CC.
Updated user interface
All of the Creative Cloud video applications have been given gentle facelifts, using a more subtle color scheme and simplified UI elements.
“The first thing you’ll notice when you open them, is the cleaner look to all of the video apps,” said Bill Roberts, senior director of product management. “We’ve modernized and simplified the user interface so that it doesn’t compete with the content. The point is to allow video pros to focus more on their content, and less on the widgets.”
In addition to the UI refinements, the video apps have all been updated to work with HiDPI displays, including Mac OSX and Windows 8.1 devices. “We foresee a day when video professionals will be creating and interacting with their content in a variety of ways across a variety of devices. Our goal is to support this transition as it evolves and this UI refresh lays the foundation for that,” added Roberts.
New Search bins allow users to automatically generate dynamic bins based on search criteria, including new Advanced Timeline Search capabilities. Search bins update as new content is added to a project, so users can keep projects organized, even as new footage is still coming in.
Consolidate & Transcode allows users to move all relevant files in projects and sequences to reduce the overall project size. Once the setting is selected in the Project Manager panel, all content is rendered into a single codec and a compact new project file is created.
Multi-project workflows allow editors to bring everything they need into one workspace. Users can open multiple Media Browser panels for easy access to as many projects as needed. The new Source Monitor Timeline view opens a second Timeline for media and sequences from other projects, making it easy to bring existing clips, edits, transitions, or graphics directly into your current project.
Premiere Pro CC now offers full support for reading and encoding GoPro CineForm, an easily managed, cross-platform intermediate codec, ideal for high resolution footage. And the Premiere Pro CC engineers keep finding ways to get more out of the GPU with native support for 4K, 5K, 6K (and higher) content, including new GPU-based deBayering for AJA RAW, Canon RAW, and Phantom Cine, as well as RED and Cinema DNG footage.
Existing features see some significant new capabilities, too, like enhanced Masking & Tracking, that enables users to adjust feathering directly in the Program Monitor, or use the free-draw polygon tool to create complex mask shapes. Use Render & Replace to speed up performance of VFX-heavy sequences by flattening After Effects CC compositions into video clips—and thanks to Dynamic Link, the original comps are always accessible if you need to make further changes. Improved Master Clip effects, Send to Audition, and AAF export to DAWs, are just a few other enhancements coming to Premiere Pro CC this Fall.
“This is a packed release for Premiere Pro CC with some really nice additions to existing features, but our big focus here was on creating easier workflows for large projects,” said Al Mooney, product manager for Premiere Pro CC. “Consolidate & Transcode, for example, is perfect for facilities who need to trim down large projects. It makes it easy to pass work on to other teams, or to archive editable projects which are still reasonably-sized.”
The next release of After Effects CC offers an enhanced Live 3D Pipeline, adding Cineware 2.0 and CINEMA 4D R16 compatibility, so that artists can work faster and more easily with 3D elements in their compositions. Broadcasters and large facilities that use Adobe Anywhere for video will benefit from improved Anywhere collaboration to streamline remote workflows with version tracking and project sharing. In addition, the new version offers a number of usability refinements, such as more visible anchor points on layers, tracking behavior improvements, and more incremental improvements that make motion graphics and visual effects work easier and more efficient.
“We’re really excited about where we’re going with After Effects CC” said Steve Forde, principal product manager. “A special highlight of our 2014 releases is the deeper integration with Premiere Pro CC and Anywhere for video. This is a great example of how we are streamlining workflows for motion graphics and visual effects artists—and enabling collaboration between teams.
The next release of SpeedGrade CC is focused squarely on the creative tools, including a significantly enhanced Looks workflow, Curve adjustments and awesome new Grading Layer Grouping capabilities.
Working with Looks in SpeedGrade CC has never been easier: Hover to preview Looks in the main image Monitor, and click to apply. Looks can be dragged into the grading layer stack where they will immediately appear as a new Grading Layer Group, making it easy to combine existing Looks and LUTs; just adjust the opacity of each group to get the result you want and… Voila! A real “Look mixer.” It’s also possible to create your own Grading Layer Groups, or copy and paste selected grading layers to apply them to new clips or save as new Looks.
SpeedGrade CC now offers Curve adjustments, including RGB curves familiar to Adobe Photoshop CC and Adobe Lightroom users, as well as Hue & Saturation curves, which allow you to boost or mute parts of the color spectrum. Use Curve grading layers on their own or in tandem with the other SpeedGrade CC color correction tools.
Improvements to existing features include audio support for Premiere Pro CC projects in Direct Link, faster tracking, better Autosave, improved performance with masks, and Enhanced Mercury Transmit, providing 4K output for 4K monitors and new support for Blackmagic video cards.
Log metadata while an event is unfolding in front of you. Use keyboard shortcuts on your laptop together with your custom tags to prepare content efficiently—and without typos. Deliver media that gives your editor a running start for a faster turnaround in post-production. Add In and Out points more efficiently and apply transitions across clips in the Rough Cut timeline. Replace, or augment, camera audio with new support for multiple audio tracks.
Render and deliver your work in one fell swoop with Destination Publishing: Add preset options for FTP sites, or your Creative Cloud folder. Send to multiple locations and track rendering and upload in the same panel. With new Watch Folder support for projects, you can automate transcoding of all of your project files at once by dragging Premiere Pro CC, After Effects CC, or Final Cut Pro XML projects into Watch Folders. Mux during encode for faster rendering of MPEG2 files with audio. Extended Match Source support now includes QuickTime and DNxHD formats.
Open virtually any video format, including RED, XDCAM, MXF, and others. Video files now load faster and play more smoothly. Minimize background noises while amplifying and leveling speech with a powerful new Target Dynamic Range parameter providing even better volume leveling for spoken content. Read and add notes to audio files with iXML metadata support, including information such as Scene, Take, or time code formats.
Screenwriters and writing teams can now Customize text boxes so that notes and comments stand out. Fine tune production planning and assign numbers to camera shots to align with scene order.
Adobe Anywhere for video adds robust collaboration support for After Effects CC users and brings refinements to the Adobe Anywhere app for iPad, including new scrubbing gestures and sorting options. A new streaming API allows facilities and broadcasters to integrate content from Adobe Anywhere into a variety of user experiences on the web or mobile devices.
“We’re excited to be showing another strong release at IBC 2014,” said Bill Roberts. “Constant refinements across all of our applications mean we’re always improving the tools, integration, and collaboration. The demands on video pros keep growing and our efforts are empowering our users to deliver better work, faster and more efficiently than ever.”
These updates to the Creative Cloud video apps and Adobe Anywhere for video are expected to be available in the coming weeks.
We’ll share even more amazing innovation coming to Creative Cloud—across desktop, mobile, services and community—at Adobe MAX, The Creativity Conference, October 4–8 in Los Angeles. To be among the first to know when these and other Creative Cloud updates are available, follow Creative Cloud on Twitter and Facebook.
Visit the Creative Cloud video page for links and news from Adobe at IBC 2014 from September 12–17. And if you can’t make it to IBC, please join us for a special, live from Amsterdam, Ask a Video Pro session on Friday, September 12 at 10:00am PT (7:00pm CEST) when Jason Levine will introduce the new features coming to the CC video apps.
Last week was quite the week for conferences. While Photoshop World was coming to a close, we had another team in Amsterdam for the International Broadcasting Convention (IBC). If you missed it, our Digital Video & Audio team has you covered with daily video highlight reels straight from the convention floor.
Friday, Sept. 7
Sunday, Sept. 9
On Sunday, the theme was all about workflow efficiencies, where we highlighted some of our industry partners’ workflow integrations showcased across the show floor.
Monday, Sept. 10
From video streams to revenue streams, Monday was about driving more revenue by getting your video to more viewers, on more devices, with Adobe Project Primetime.
Tuesday, Sept. 11
Tuesday was the last day at IBC, and it was all about collaboration without boundaries. We spent the day taking a closer look at the growing momentum behind Production Premium CS6 & Adobe Anywhere for video, which helps teams work together in real time, across virtually any network with shared media.
IBC 2012 was an action-packed event full of exciting releases and announcements. For more from IBC, check out our IBC Online hub.
For Final Cut Pro or Avid users, now is a great time to switch to the Adobe Creative Cloud and take advantage of our Switch. Save. Edit. promotion. You’ll get 40% off all Adobe pro video tools, including Premiere Pro, plus so much more with your Creative Cloud Membership. The offer ends November 30, 2012. Don’t miss it!