November 2, 2018

November Patch : Premiere Pro and AME v13.01

 

Just a quick heads up on the November patch released on Nov 1st. We are looking to release more frequent quick patches to help address reported issues . In many cases these patches may not effect your workflow and there may be no need to update. Check the list below. I’ll keep a running list here of patches as we release them .

  • Occasional crashes in CC Library (Windows only)
  • Compatibility issues AVI codecs: erroneous warning message on launching Premiere Pro; Crash on launch when loading ExporterAVI.prm
  • Issues with importing Blackmagic Video Assist & Hyper Deck ProRes files 
  • Issue with dragging to adjust text and graphics on video image when Display Setting is set to something other than 100% (Windows only)
  • Keying issue with ProRes444 and Alpha channel
  • Issue with exporting certain Sony files as JPEG2000 MXF op1 file
  • Font issues with Motion Graphics templates created in pre-15.1.2 versions of After Effects 

Make sure to update both Premiere Pro and Adobe Media Encoder to v13.01

If you don’t see an [Update] indicator in your Creative Cloud app , First Sign out of Creative Cloud and then Quit the app. You need to sign out and quit . I find this will trigger the CC app to ping for updates again.

 

2:32 PM Permalink
October 15, 2018

What’s New in Premiere Pro CC2019 v13.0

 [Click] to play What’s new video

 

 

We’ve been busy working on a host of new features in CC2019 as part of our customer feedback. Please keep the feature requests coming . If you are new to submitting request you can find the Provide Feedback link under the Help menu in Premiere Pro and most Adobe apps.

https://adobe-video.uservoice.com/forums/911233-premiere-pro

Click on the image below to fill out feedback and feature request.

 


New CC2019 Features:

NEW Display Color Management


 

One thing that’s been missing from Premiere Pro for a long time is Display Color Management. See the above screenshot showing that Premiere Pro Program Monitor and the After Effects Composition now match in CC2019.

With new Display Color Management turned on you can leave your OS colors settings set to the system default and your colors will be presented correctly on-screen while working in Premiere Pro. Color information of your source files is not modified and will export correctly.

Display Color Management works for any internal monitor and for any secondary computer monitor used as part of the OS desktop, including HDMI, Display Port, DVI, and Thunderbolt connected displays.

Display Color Management does not support external monitors connected through video I/O cards using Mercury Transmit. These need to be configured outside of Premiere Pro.

Enable Display Color Management by opening Preferences > General > and check “Enable Display Color Management.” The preference is off by default since not all systems have sufficient GPU horsepower to use the feature.

** Note** we are just at the beginning of where we want to take Color Management and this just a first step. Stay tuned for future updates on this critical workflow topic.

 

NEW Selective Color Grading


 

We’ve been working on a new advanced Curves interface to help take the guess work out of working with Curves with Hue, Sat and Luma settings. Trust me, it’s pretty easy to see where you are pulling or pushing the color .

Selective Color Grading provides five new curve adjustment tools. The first one, Hue vs Saturation, replaces the radial “donut” and presents the same controls as a horizontal curve line.

Use the eyedropper to select a color range in your image, or manually add adjustment points as needed to manipulate the curve. A scroll bar at the bottom of the window make it easy to work on any part of the line (essentially, dialing around the color wheel.)

Hue vs Saturation
Select a Hue range and adjust the saturation level. As you drag your selection up or down, a vertical line appears and displays the saturation levels available – giving you visual guidance as you adjust.

Hue vs Hue
Select a Hue range and change it to another hue – essentially you are modifying a color range, to make it stand out more (or less) or to distinguish it from other color ranges in the image. Again, the vertical adjustment line provides a visual guide as you make the adjustment.

Hue vs Luma
Select a Hue (color) range and adjust the Luma (light). You could use this, for example, to darken a pale blue sky and add more contrast or drama to a shot

Luma vs Sat
Select a Luma range and adjust the saturation, for example to roll off the saturation in the highlight of a sunset and minimize clipping in the center of the sun which is over-exposed

Sat vs Sat
This allows you to selectively adjust saturation for a specific saturation range. For example: to ensure broadcast legal saturation levels.


 

NEW Support for Data Driven Graphics from AE


 

In After Effects CC2018 we added new support for Data Driven Graphics which allows you to use CSV and TSV files from programs like Microsoft Excel when creating Motion Graphics Templates (mogrts) . After Effects can use the data to control keyframes to control the animation, color via Hex Values, and more. New in Premiere Pro is the ability  to use those  After Effects Motion Graphics Templates . You can have enter data manually or you can link the data to spreadsheet and whenever the spreadsheet is updated, the template will auto update. Again, it’s a game changer for both AE and Premiere Pro users.


 

NEW Audio Filters for Essential Sound Panel


 

Our Audition team has been busy listening to feedback from customers using the Essential Sound Panel in Premiere Pro and Audition. The 2 most popular request were to improve the Reduce Noise and Reduce Reverb results when using the sliders. Both of have been updated to use new filters for better results.

 

 

We are continuing to support our fast growing VR community with new support for VR 180 cameras and workflow. Premiere Pro can now automatically recognize many of the new 180 cameras now on the market. We have also updated our effects to take advantage of the new format. VR 180 is quickly becoming the new Stereo 3D but without the glasses.


 

Enginering Notes:

New Feature Recap & Bug Fixes …

New Features in Premiere Pro 13.0

  • Selective color grading 
  • Display color management
  • Add, rename, edit Lumetri instances
  • Open Premiere Rush projects in Premiere Pro
  • Intelligent audio cleanup
  • Edit and transform vector graphics
  • Essential Graphics and Motion Graphics Template enhancements
    • Support for data-driven infographics
    • Improved search for Motion Graphics templates in Adobe Stock
  • VR enhancements
    • End-to-end workflow for 180 VR
    • Spatial markers for immersive media
    • New Theater mode in Adobe Immersive Environment
  • Collaboration enhancements
    • Group invites for Team Projects
    • Creative Cloud Libraries enhancements
  • Performance enhancement and file format support
    • New file format support
    • Support for Australian Closed captioning standard
    • Performance improvements
  • New Home Screen
  • Auto-save improvements
  • Quick Timecode entry
  • And more

 

Bug Fixes in Premiere Pro 13.0

Performance

  • Improved Mercury Playback Engine performance on Metal
  • Improved Reverse Playback performance of HEVC file
  • Improved Metal renderer performance at Full Res playback
  • Lumetri: Performance drop/dropped frames with interlaced media (GPU)
  • 8K R3D playback performance issues at Full and half resolution (macOS)

 

Stability

 

  • Intel Coffee Lake CPU – crash when importing or opening an existing project while NVIDIA driver is enabled.
  • Crash can occur when going backwards in Learn panel
  • Crash when switching to Thumbnail view with PNG files
  • Recovery clips are created when working with multiple open projects
  • Import reference file for some audio (e.g.: AIFF, MOV) results in low-level exception in Importer MPEG
  • Slow import of multiple AVCHD files on macOS
  • Crash when switching between Workspaces viewing Waveform Luma & RGB Alignment in Lumetri Scope
  • Stability issues with laptops with discrete GPU running Windows 10
  • Crash when quitting if “Manage My Account’ link is open in that session
  • Several redrawing errors, crash and blank screen while changing workspaces using Workspace tabs
  • Crash when importing XDCAM files from Nexio/Harris Velocity
  • Crash when using “Reveal Project in Project Panel” with some projects
  • Reverse nested sequence causes program monitor to display black
  • Files generated by YI camera result in low-level exceptions or application stops responding
  • Duplicating sequences lose effect data
  • After adding a motion effect to clip on timeline, playback will freeze
  • Crash occurs when match framing or slip/slide of clips in multicam sequence
  • Placing growing MXF file from Abekas into sequence causes Premiere Pro to crash
  • Hang when rendering some Timelines
  • MP4 material can cause video playback to freeze and the application to stop responding
  • Application hangs when importing 100 or more files requiring force quit.
  • Importing FCP xml into large project results in a freeze
  • Hang while importing some types of GoPro files.

 

 

Formats

 

  • Some ARRI Alexa Mini files appear incorrectly vertically instead of horizontally.
  • HEVC mov files with Codec ID hev1 import as audio only
  • Playback does not work when importing ALEXA_LF 3840 x 2160 files
  • R3D file plays back distorted in 1/4 resolution or lower playback setting
  • When importing Prores422HQ codec mov files on Mac, a slight color shift can occur
  • QuickTime files that are out of gamut are shown as being in gamut on Windows
  • Open GOP files have artifacts with HW decode
  • Some H.264 files with Frame Rate & Original Frame Rate values have switch to software decode
  • Imported H.264 10-bit files have shift in color values
  • Premiere can’t import 4448×1856 ARRI RAW files and eventually hangs the app.
  • Importing some QT files cause the app to hang or crash.
  • Subsequent imports of XDCAM HD 422 MOV file will only import audio.
  • Some Audio/Video file imports as Video only
  • Filmic Pro files import as video only
  • 4K Raw files from Sony FS7 import as white screen

 

 

Workspaces and Panels

 

  • Issues with Workspaces when opening legacy projects.
  • Workspaces don’t save with the project
  • Display Timecode is inconsistent when multiple Timeline panels are visible
  • Opening a second project opens two project tabs in Project Panel
  • Switch to another workspace results in missing some or all of the Project tabs

 

 

 

 

Editing

 

  • Adding marker to Multi-cam clip causes waveform to disappear
  • Clip name in timeline not legible
  • File selection is not carried over when switching between Icon and List Views in Project panel
  • Marker workflow between Timeline, Source Monitor and Program Monitor panels is broken
  • Video and Audio usage dropdown list doesn’t work if any clip is selected in the Project Panel
  • Digital distortion in silent areas between clips if used as a track-based compressor
  • Drag clips from one project to another project’s sequence loses clip label color
  • Moving Clip Between Projects Via Source Monitor loses Label Color
  • Reveal in Project, with Bin set to Open in place, results in Bin tab not being selected
  • Merged Clips are deleted from a timeline, without a warning, if a smart bin filtering merged clips is deleted.
  • Clip marker comments are lost when quitting
  • When AJA Capture Settings dialog is set to Control Panel, changes are unsaved.
  • Background color of drop zone barely visible when dragging media from finder onto project folder
  • Saving multiple open projects that originally had different saved renderers all get saved with current renderer
  • Motion Graphic Template does not always relink or indicates that After Effects is required to be installed
  • Can’t change camera views of a multi-cam project item in a locked project.
  • When AJA io4k is configured to transmit Rec 2020 over HDMI, picture outcome is corrupted
  • With Sonnet eGPU device attached to iMac Pro, new timeline creation leads to crash.
  • incorrect XMP data leads to missing frames in Source Monitor playback

 

Captions

 

  • Intermittently lose decoding of CC 608 or 708 in timeline when adding more than one blank caption with ctrl click add caption to timeline
  • Unexpected behaviours whern making two blank captions
  • Issues with authoring captions on V3 with another captions track is on V2
  • Setting I/O point and exporting project with embedded captions strips captions from track (Windows only)
  • When import dfxp TTML open caption file and place it on the timeline, characters appear to overlap on the program monitor

 

Audio

 

  • Media Pending error displays when Audio Input set to non-working device
  • Mix down clips to stereo setting deletes track routing when dragging a Sequence to the Source Monitor with Multichannel Master tracks
  • Specific AAF files that are exported fail to import on Windows
  • Silent Audio Export from Audio Clip at 9000% Speed
  • Solo in clip mixer with a clip loaded into the source monitor does not properly reflect the solo state in the mini meters
  • Waveforms constantly refresh with large projects when BlackMagic transmit enabled
  • Switching cameras on multicam clip in the source monitor does not switch audio unless 3rd party transmit is enabled
  • Embed audio for AAF creation strips out the audio file metadata
  • There is intermittent Left/right channel bleed and waveforms only display problem areas at certain zoom levels
  • Some TS muxed 5.1ch files are imported as stereo.
  • Incomplete audio when recording on two tracks
  • Audio distortion when using an ASIO sound card, Decklink device, and switching rapidly between Multicam View may lead to hang
  • Flattening a multicam audio item will clear any volume adjustment

 

 

Export and Render

 

  • Green/pink patches along with horizontal lines are observed while playback of HEVC/H.264 files with Intel Graphics 620
  • Error Compiling Movie “Software Render Error” for some 3rd party Plugins
  • Warp Stabilizer gives a bad result with interlaced footages
  • Certain settings for MPEG2 export result in pixilation
  • Red frames when exporting specific projects
  • Export of HEVC 4K clip using HW encoding on i9 MacBookPro results in ExporterMPEG_VideoToolbox error
  • Analyzing in Background banner appears erroneously when playing a Morph Cut
  • Export Range is full instead of limited when exporting HDR content for H.264 and HEVC
  • Export failures – caused by Lumetri Render error
12:01 AM Permalink
July 27, 2018

Premiere v12.1 UI Audio Bug (FIX)

 

 

In case people are still experiencing the v12.1.1 Audio Bug in a current project with our most recent update V12.1.2, here’s an official post to help clarify what’s happening and how to fix the v12.1.1 project.

v12.1.1 UI Audio Bug
Issue:
The issue could occur when an audio track was muted in a sequence and then the v12.1.1 project was saved and closed. When you reopened the project, the UI for the sequence no longer showed the audio track as being muted as the UI reset the toggle to show it as on. When a user would play back the sequence , not all of the audio tracks would appear to play causing them to possibly think it was a caching issue or codec related issue. Premiere was actually playing the sequence back correctly as those tracks were muted from the previous save state but the UI bug caused the issue where there was no indication that the track was muted.

Solution: (the Fix)
Once a v12.1.1 project shows this UI behavior it needs to be corrected and resaved. **Note** v12.1.2 will not correct this issue simply by opening the project in V12.1.2 .

You need to follow these steps to repair the project.

1. Toggle the Solo button on/off and the Audio track will correct the playback state. To keep it simple, Solo/Unsolo each audio track.

2. Playback the Sequence to insure that all audio tracks can be heard and monitored.

3. Save the Project

4. Quit Premiere Pro

5. Relaunch and issue should now be fixed.

As stated, the fix for this issue is included in the recent update, v12.1.2. This update keeps the UI bug from occurring so the user should not run into the issue again.

 

11:23 PM Permalink
July 17, 2018

Premiere Pro v12.1.2 UPDATE NOTES (Enhancements & Bugs Fixed)

Features:

 

Formats Support/Enhancements:

  • Added support for exporting 8K H.264 format
  • Added support for exporting XAVC QFHD Long GOP 4:2:2 formats
  • Added support for Panasonic Camera Metadata

 

Performance:

  • Hardware-accelerated H.264 and HEVC decoding on MacBook Pro and iMac Pro machines with Mac OS 10.13
  • Hardware-accelerated HEVC encoding on Windows 10 with 7th Generation (or later) Intel® Core™ processors and Intel Graphics enabled
  • Performance improvements for decoding RED Camera Formats
  • Performance improvements for decoding Sony RAW/X-OCN Camera Formats

 

Bug Fixes (Highlights):

 

Stability 

  • Fixed: Crash when a Team Project is opened in After Effects that contains a Premiere Pro Sequence
  • Fixed: Intermittent crashes when updating comp edited in After Effects
  • Fixed: Copy & Paste a merged clip from one project to another could trigger a null pointer exception.
  • Fixed: Crash when changing audio channels on merged clips and loading into the source panel
  • Fixed: Crash when importing specific ALE files.
  • Fixed: Playhead hangs for ripple trim in trim mode with transmit and second monitor attached
  • Fixed: Import of AVCHD file outside of spanned folder results in period of not responding & audio conform error – Mac Only
  • Fixed: Creating edits for files modified from the Essential Sound changes, could trigger a crash
  • Fixed: Crashing issue with late-model Intel CPUs with the Lumetri Scopes panel (Windows 7)
  • Fixed: Crash when untrimming audio clip accidentally overlapped in imported Audition mixdown
  • Fixed: Closing Premiere after queueing a render could cause Adobe Media Encoder to crash
  • Fixed: issue with importing some ProRes file types.

 

Merge Clips

  • Fixed: Issue with Paste Merged Clip to another project. 
  • Fixed: Merged Clips can now be opened as sequences
  • Fixed: Issue with deleting search bin containing Merged Clips
  • Fixed: Issue with modified audio channels in Merged Clips.

File and format issues

  • Fixed: Issues with audio/video file importing, including H264 AV (Mac OSX 10.11) and ProRes
  • Fixed: QuickTime files with Alpha Channel flickers during Playback in Mac OS X High Sierra
  • Fixed: Import issue with some Elgato CFR, DNxHD OP Atom MXF, DJI HEVC files
  • Fixed:  Audio playback issues with Filmic Pro files when app is backgrounded.
  • Fixed: Error rendering with XDCAM sources in an MXF wrapper
  • Fixed: SLog-3 the colors now match Sony RAW Viewer
  • Fixed: Color shift issue with Cinema DNG file shot from DJI INSPIRE ZENMUSE X5R
  • Fixed: Some QuickTime-wrapped XDCAMHD 422 files are offline on Mac OSX 10.11
  • Fixed: iPhone H.264 .mov files captured via “Moments” import as audio-only

 

Markers

  • Fixed: Issues with Sequence Markers in Source Monitor, and Marker behavior between Timeline and Source Monitor, including multi-cam sequences.
  • Fixed: Markers issues when duplicating a clip or moving clips from to a new Project.

 

Projects

  • Fixed: Project Panel search bin is dimmed and is not enabled
  • Fixed: Project location switches to the temp directory when dragging sequences from Premiere Pro to Adobe Media Encoder
  • Moving a clip from one project timeline directly to another project timeline will create a Recovered Bin
  • Project and media files from Windows to Mac platform, if project/media files relative path is NOT maintained, all media files will show as missing when project is opened
  • Reveal In Project fails in some cases in icon view
  • If assets inside of bin are exposed during drag and drop from one project to another, duplicates are created if clips are in a sequence
  • Duplicates get created when moving merged clip from one project to another.
  • All track items will lose its custom color when they are moved to a different project
  • Project panel set to Thumbnail View, Reveal in Project does not work for file in unopened Bin
  • Reveal in Project does not highlight/select file
  • Drag & Drop folder structures between project will duplicate sequences

 

Captions 

  • Fixed: Open Captions decoding missing from decode list
  • Fixed: Incorrect positioning for imported EBU stl file with open subtitles
  • Fixed: Closed Captions STL issues with currency signs
  • Fixed: Export Caption XML uses non-specification conforming tags
  • Fixed:  Issues with creation and revision dates for Exported STL sidecar files
  • Fixed: Crash where user clicked “+” button on the Captions pane when all existed sub-captions are cleared by “-” button

 

Workspaces

  • Fixed: Issue where creating project after saving a previous project triggers New Default Workspaces dialog
  • Fixed: Workspaces save now correctly with the project
  • Fixed: Tools panel too wide in default Editing workspace preset (Windows only)

 

Audio 

  • Fixed: Audio tracks incorrectly display as muted, after re-opening a project.
  • Fixed: Volume issues when flattening some trimmed multi-cam clip with mono audio
  • Fixed: Issue where Auto Ducking keyframes could cause a crash 
  • Fixed: Issues with Render and replace audio only (MacOS)
  • Fixed: playback issues with some audio clips after exporting
  • Fixed: Audio Preferences changes not retained after relaunch 
  • Fixed: Audio Previews not saved to location specified.
  • Fixed: Default audio levels for XML roundtrip workflows and AAF exports
  • Fixed: Waveform display issues, including Multi-cam clips
  • Fixed: Issues with effects rendering for AAF 
  • Fixed: Issue with importing track volume keyframes in AAF files 

 

Playback and rendering 

  • Fixed: Artifact issues when using Video limiter 
  • Fixed: Interlacing artifact issues when exporting projects with OpenCL renderer
  • Fixed: Dropped frames when switching from Half Res to Full Res playback 
  • Fixed: Artifact issues with Kona 4 video I/O when sending HDR images to HDMI monitor
  • Fixed: Media Encoder now displays all LUT/Look options for rendering

 

Color tools

  • Fixed: Scale to frame size now generates correct aspect ratio for analysis
  • Fixed: issue where Color Match applied color adjustments to last keyframe
  • Improved: Color Match now only applies matching algorithms to visible part of cropped image
  • Improved: Reference images with transparency no longer show ghosted Current image
  • Fixed: issues with Basic Correction to HDR images used as Reference image for Color Match
  • Fixed: Ripple Trim Previous Edit to Playhead now displays correct frame 

 

General fixes

  • Fixed: Timecode issues with some EDL exports
  • Fixed: Start Screen objects and UI load.
  • Fixed: issue with missing fonts 
  • Fixed: Eyedropper tool works correctly with floating panels.
  • Fixed: Timecode entry beyond 24 hours

 

2:52 PM Permalink
May 13, 2018

(Video) What’s New in Premiere Pro CC v12.1 Spring April 2018 Update (NAB 2018)

 

8:35 PM Permalink
April 20, 2018

Premiere Pro v12.1.1 UPDATE NOTES (Bugs Fixed)

The following bugs are fixed in version 12.1.1 release of Premiere Pro (AME also updated):

  • Fixed a crash on launch in some cases when loading Cool Type fonts (these fonts are prevented from loading.)
  • PNG files containing Alpha are correctly displayed with the default interpretation of Straight Alpha. 
  • In some PNG frame sequence exports, frames no longer get mixed together (superimposed).
  • Application no longer hangs if you quit it after playback of Sony F5 RAW files.
4:06 PM Permalink
April 8, 2018

Dav’s NAB 2018 #1 Show Pick must have..

As I pack up and head out to NAB 2018 I’m actually looking forward to my 25th NAB show . Each NAB show has our field teams and booth teams busy coping files back and forth between our main booth , field laptops, and our partners who want to share their new tools and their project files. In the past this took all day just to get files copied and it also required stacks of small portable drives that we needed to keep track of who had them last. All of this was mainly due to one thing…transfer speeds .

Our typical Adobe Premiere Pro project folder size ranges from 12GB to over 40GB depending on native RAW projects vs Proxy projects or both RAW & proxy in one project . This NAB, I’ve found the perfect solution and it fits in my pocket – the new Thunderbolt 3 OWC Envoy Pro EX (VE)

This small 2TB bus powered Thunderbolt 3 drive packs the latest SSD (NVMe) technology and something you just need to see and use in person. I could just tell you that it has a sustained 2600MB/s per second that’s optimized for professional video production but my real world daily “on the go” tests are much more impressive to me.

It takes just under 20 Seconds to copy my NAB files (14.56GB) from my Mac Laptop to the Envoy Pro EX. Impressive no matter how you look at it. As I said seeing (& using) is believing.

 

On the setup side, OWC does a very nice job of making it easy while also giving techies like me full control over setup.

What next?

After NAB , I’ll be taking a closer look at the Envoy EX Pro’s big brother, the ThunderBlade , that’s about twice as wide and a little thicker (cooling fins) and packs up to 8TB of pure Thunderbolt 3 speed. So many uses come to mind from backing up 8K RAW files and my huge VR projects. I’ve using both these drives for several weeks and no question that OWC has set a new performance bar..

Here’s a quick peek inside the New ThunderBlade ..

Stay tuned..

12:58 AM Permalink
April 6, 2018

Premiere Pro CC2018 v12.1 April Release Notes (NAB2018)

(available for download as I write this)

Updates and new features include:


New Onboarding welcome screen


You can now learn more about Premiere Pro using the tutorials within the app. You can access learn content from two places:

New project screen
Learn workspace

 

New: Shot Comparison View


You can now split the Program Monitor display to compare the look of two different clips or the look of a single clip before and after applying an effect.

You can use this Comparison View in many ways, such as matching the colors between two shots or for adjusting the intensity of an applied effect such as a blur or film grain. Using the vertical or horizontal split allows the user to drag the splitter back and forth across the image to “onion skin” the differences.

 

New Lumetri Color panel options:

– fx bypass option – to temporarily toggle an entire effect on and off
– Reset Effect – to reset all effects for a single shot
– Custom LUT directory

 

New Auto Duck music


-you can automatically generate a volume envelope to duck music behind dialogue, sound effects, or any other audio clip.

 

New Updates to Motion Graphics Templates


-You can now browse for Motion Graphics templates easily using the Essential Graphics panel. You can search for templates that are available locally, in CC Libraries, and in Adobe Stock.

After finding the template you need, you can just drag it into your sequence – regardless of where the template is stored. The redesigned Browse tab also supports hover scrub to preview animations, favoriting Motion Graphics templates, and keywording for quick, intuitive organization, and searching.

 

New for VR/Immersive workflows

– Support for the Windows Mixed Reality platform HMDs
– VIVE HMD for OSX
– Improved performance for VR Plane to Sphere effect

 

Update for Team Projects

-Improved tracking for online collaborators
-easier project management
-ability to view read-only versions of your projects

 

New redesigned Timecode Panel

-you can now show new display options, such as In/Out, Duration, Absolute timecode, Remaining timecode, and Source timecode.

 

New Video Limiter Effect

-enables you to limit chroma and luma CHANGE TO RGB values to meet broadcast specifications. It can be used as a per shot effect while you are working with Lumetri Color, or added as an output effect to limit the entire sequence upon export.

 

New COPY and PASTE sequence markers

-You can now copy and paste full fidelity sequence markers when moving one or multiple clips, maintaining the same spacing as from where copied. All marker information such as color, notes, duration, marker type is preserved during copy and paste.

 

New Support H264 & HEVC Hardware encoding

-supports hardware-accelerated H.264 encoding on Windows 10 with 6th Generation (or later) Intel® Core™ processors and Intel Graphics enabled, and hardware-accelerated H.264 and HEVC encoding on Mac OS 10.13 systems with supported hardware. *Note* On supported systems, Hardware Encoding can be selected as an option in the Encoding Settings section of the Export Settings dialog. If the specified combination of Export Settings is not supported by the hardware, there is a fallback to Software Encoding.

 

New File Format support

– Importing Canon C200 camera formats
– Importing Sony Venice camera formats
– RED camera Image Processing Pipeline [IPP2]

 

IMPORTANT: Quicktime 7 era formats and codecs has been dropped

Adobe continuously aims to keep up with the most modern workflows and support formats and codecs broadly used across the professional film and video industry. As a result, future versions of Premiere Pro, starting with version 12.1, will no longer support legacy QuickTime 7 era formats and codecs. Professional codecs typically found in QuickTime movie files, such as ProRes, DNxHD, and Animation, are not impacted by this change. These codecs are supported natively in Premiere Pro.

To alert Premiere Pro users regarding this pending change, the most recent versions (12.0, 12.01) of Premiere Pro show a warning notification when you attempt to use a legacy QuickTime format or codec that will no longer be supported, starting with the 12.1 release.

More info here:

https://helpx.adobe.com/x-productkb/multi/quicktime7-support-dropped.html

New FIXES addressed in this release of Premiere Pro CC

Stability
-Crash while toggling RED Camera Orientation checkbox for attached source footage file

– (Mac only) Crash in Opencl_runtime

– Launching Premiere projects with certain VST3’s Audio plugin leads to crash on startup

– Crash caused by Metadata cache database when opening project

– Premiere Pro crashes when track items are deleted and previewed in HMD

-Crash when relinking file if Media Browser is in Thumbnail view

– Premiere Pro crashes while importing ALE files

– Auto Save for Project on unmounted drive results in multiple unknown error dialogs and may crash

– (Mac only) Occasional crash with Media Browser when unmounting an image (and possibly a disk)

– PProHeadless crashes at first launch

– Double clicking a timeline in the project panel opens up a timeline panel with no contents. This issue sometimes causes Premiere Pro to crash

– Crash when playing some files at 1/2 resolution

– Changing to Metal Rendering when Lumetri Scopes are open can cause Premiere Pro to crash

– Loudness radar causes non-reponsiveness with AJA io4k hardware

Corrupted VOB clip causes Premiere Pro to crash on import

Using Basic 3D effect with OpenCL/Metal can cause the operating system to freeze

Playback and performance

All frames are dropped on playback of an HEVC clip when playback is set to less than Full resolution

Opening some projects results in unexpected amount of memory allocation

Change Playback Engine does not automatically update cultist/render bar

File format support

4K DPX sequence causes memory leak in Premiere Pro version 12.0.1

On first import after install, MXF decode error reported with particular ARRIRAW MXF file

Some mov files do not use the native libraries

XF-AVC file( YCC , Canon Log 2) does not show Full Range in Lumitri Scopes

GH5 HEVC files are not able to import or play back

XDCAM-HD is not recognized if the CUEUP.XML file is missing from the file structure

R3D source settings cannot be turned off in the master clip effect

Some R3D files are not flipped automatically

XOCN master clip colour space change from Rec709 to Slog 2 or 3 does not work

Captions
Parsing captions while importing sample file causes file to display Media Pending message indefinitely

Changing caption parameters has no effect on exported stl file

MOV files with closed captions from Dalet import as Media Pending and do not display captions

Styling changes to captions (STL and SRT) does not update in timeline

Changing video settings for captions does not affect the font size

If you create long captions in the timeline using the New Caption option in the
context menu, the Captions Block Inspector does not create a scroll bar
Imports and projects

Editing clips between projects hangs Premiere while project is checked for duplicates

Metadata panel is active with read-only projects

Project alias does not open project in new window when using the Alt/Option+double click keyboard shortcut

Write keyframe mode is not preserved when switching projects

Multicam does not copy to another project correctly if component clip is buried in a bin

Open Project does not open closed Project panel tab

Media Browser does not update on computer 1 when you change in/outs on computer 2

Media Browser fails to display files from Studio Network Solutions network drive when mounted using AFP

Track Item label colors do not copy over to new projects

If multiple items are selected in Bin, Metadata panel only adds two entries of information

Editing and effects

Copying a new .cube file into Lumetri Folder breaks previously set LUTs

Morph Cut only allows Center on Cut

Resize mask function using the Shift + mouse drag does not work

Toggle select track and press W has different results

Clip Timecode settings auto-reset to Alternate timecode setting

Default transition duration opens incorrect pane in Premiere Preferences

Set Default Transition Duration from the Effects flyout menu goes to the wrong Preferences dialog

Transform Anchor Point is off a pixel in the xml export

Track Matte Key effect is broken when applied above any clip with a mask

Cannot slide numbers with Wacom tablet

Interpret Footage should be enabled for merged clips so Field Order settings can be edited

Track Fader hit area is off when fader is started at the lowest setting

Relinking source footage from proxy .mov to hi-res .mxf makes sequence tracks containing referenced audio can go off-line

Scopes have serious drawing issues

Disable master clip effects does not work on bins

Alt-clicking Write Keyframes in Clip Mixer not working properly

Esc causes Source View player issues on Mac and closes player on Windows
When you add metadata to multiple selected items, the metadata does not add to last clip

Saving a copy of a project and opening that project causes the existing project tab decoration to falsely display as bin

When you save a project using Save As or Save a Copy there is a break in Filter

Bin Content and Search Bin

Export and Render

Export is truncated when using newly deployed exporter preset

Using Time Tuner on video with R.128 loudness normalization causes segmented and flickering EBU .STL sidecar file

When you export media with the same name as a previously deleted file, Premiere Pro issues a message indicating that the same file already exists in the project

Encoding error when exporting MOG files to MXF Op1a AVC-Intra 100

Low-level exception error occurs if you use the Pixel Motion Blur effect causing render failure.

Encoding error on some mp3 files

Unable to export or process Barco Escape ProRes444 with data burn to Vimeo mp4

Interoperability

When you copy/paste clips with audio from After Effects, Premiere Pro does not copy more than first second of clips

Replace with AE Comp gives a darker composition

High sample rate audio sent to Audition comes across as the wrong sample rate
Audio

Distortion or garbage in audio when exporting AAF files

Flattening multicam clips resets the audio to unity (zero dB)

Audio Track Mixer Latch/Touch automation modes sometimes fail and switch to Write mode overwriting automation keyframes

Noise artifacts are heard in stereo audio clips that are placed in Ambisonics sequences when Binauralized monitoring is used

Peak files are missing their extensions on Windows 10 with MXF files
Adobe Immersive Environment

Only one of the HMD hand controllers works with Mac systems

A low-level exception occurs if you attempt to preview an audio only clip when the Adobe Immersive Environment is enabled

Mac Premiere transmit to HMD from the Source Monitor produces a garbage frame or two when the Paused Resolution and Playback Resolution are set to different values

Loud garbage plays back if you attempt to preview Ambisonics audio, that was imported as Mono 4 channel, with binauralization enabled

Changing the color of a track item fails to automatically get reflected in the HMD timebar

The name of a sequence on the HMD timebar does not get automatically updated after you make an edit to it

The HMD Timeline’s Zoom bar, at fully zoomed in position, becomes very difficult to move. Attempts to move it usually result in changing the zoom scale instead of scrolling the view.

When the HMD Timebar has content three minutes or longer the Zoom control bar cannot zoom in enough

Unable to scroll the HMD Timebar view during playback

Clicking on an empty part of the HMD Timeline’s Zoom bar well fails to scroll the Timeline view

The HMD Timeline’s Zoom bar setting does not match the timeline display after you switch to a new clip

The HMD Timeline’s Zoom bar art gets truncated when at fully zoomed in position

The hit spot for adjusting the start or end point of the Zoom bar in the HMD Timeline is too hard to access

Premiere Pro transmit to HMD is extremely slow to initiate on Mac, and sometimes it fails to work at all, after the HMD has been in Stand-by mode

Offline track items fail to appear in the HMD Timeline as red

IN and OUT markers that are set in the Source Monitor fail to appear when viewing the HMD Source Monitor Timeline

The Track Head-Mounted Display option for the Program Monitor toggles off when you switch to a different sequence

If you move the CTI right after jogging, audio previews for a couple of seconds and then stops

Extending the Jog command swipe of the hand controller beyond a 180 degrees messes up the HUD display and haptic feedback

The HMD Timebar fails to highlight the time ruler after just an IN or OUT marker has been placed

VR properties added to a clip that is already in the Source Monitor does not enable HMD viewing

Premiere Pro cannot open .mp4 files generated by JauntVR’s tools

Other

Translation and other localization fixes

Miscellaneous UI fixes

5:52 PM Permalink
February 14, 2016

What’s new in the Premiere Pro CC 2015.2 Update

Premiere 92

This update provides a number of bug fixes reported by users (these are listed below) that we’ve addressed (many thanks to those of your that submitted bug reports) .

In addition to the bug fixes , we’ve also added a new Feature found under the “Wrench Menu” on the Program or Source Monitor that when you Toggle it on the new High Quality Playback setting can provide a smoother viewing experience, where playback better matches the image quality of frames when paused. High Quality playback may result in dropped frames depending on the media and hardware configuration, and most users will find the default settings are still the best choice for real time playback.

 

HQ playback

Fixes in Premiere Pro CC 2015.2 address the following issues:

* Adobe Stock and CC Libraries could not be used by users who connect to the internet using proxy servers.

* Premiere Pro could not launch on Windows systems with AMD Phenom 2 processors.

* Users of Wacom tablets could experience interface lag.

* Multiple fixes with Adobe Stock support.

* Dissolves displayed incorrectly on OS X El Capitan when working in CUDA mode.

* Crashing issues when Warp Stabilizer re-analyzes.

* DNxHD MXF import sometimes failed.

* Titles could not be imported via the Import dialog on Mac.

* Playback could stop when audio input was set to digital on Mac.

* Synchronizing by audio waveform could give inaccurate results.

* Double clicking a clip or sequence when the Project panel is in icon mode did not open the item.

* Soft Subclips could appear with black thumbnails in the Project panel.
Rendered files sometimes did not maintain sequence start time.

* A crash occurred with importing .wav files from Fostex DC-R 302 recorders.

* Moving the info panel could cause a crash.

* AVCi100 OP-Atom MXF files from Avid displayed incorrectly.

* Audio drop-outs occurred on export.

* The final frame of a nested sequence displayed incorrectly when using optical flow with GPU enabled.

* Merged Clips could become corrupted when round-tripping via FCP XML.

* PSD files caused Premiere Pro to stop responding when closing a project.

* Live Text Templates with more then one parameter often lost render previews.

* Sync Settings did not respect system proxy settings on Windows machines.

* Specular highlights corrupted when exporting to non-PQ J2K files in HDR workflows.

* Merged Clips dropped into a sequence were unlinked.

* Premiere Pro project names incorrectly permitted the back and forward slash characters.

* Render files did not travel with transition and analysis data.

* Text layers in Live Text Templates displayed with jaggy edges.

* XML files exported from FCP 7 could show as corrupt sequences.

*Incorrect fonts were displayed when importing an XML from Annotation Edit software

*Reverse playback could occasionally not work.

*Panasonic 50i/60i .mp4 and .mov displayed incorrectly.

*Premiere Pro crashed if the preferences folder was set to be read only on Mac

*Exporting to QuickTime with MPEG-4 Enhanced Low Delay Audio could result in an Error Compiling Movie dialog.

*GPU playback and rendering failed with sequences containing the Track Matte effect.

*The About dialog showed an incorrect version number.

*Crashing could occur with AJA 12-bit HDR output in software mode.

*IMX 30 full-frame anamorphic exports were incorrectly exported as 4:3.

*Several situations where crashes could occur have been resolved.

4:18 PM Permalink
November 24, 2015

#1 Technology Pick for 2015 – LG OLED 4K HDR

LG_Electronics-643372158-HE_65EG9600_1

It’s that time of year again to look back and see what 2015 bought us in terms of technology that enhances the ever changing video production workflow and experience. In 2014 I talked about UltraWide displays taking over the video production desktop and no question I’ve seen them everywhere as I traveled around the globe this year. While there are several high quality models of these 34” wide displays on the market from various manufactures, no question that the LG models still stand out to me with their onboard Thunderbolt which helps us in our daily workflow with so many add-on Thunderbolt benefits ranging from portable storage to 10Gig Ethernet adapters and more.

For 2015, I once again look to what’s changing in our world of high-end video production. We all know 4K/UDH is here and available at various price points that attract buyers at all levels. But honestly, 4K for me is not enough to change my personal TV viewing habits. I’ve been working daily in 4K and even some 8K for a while and for the past few years we have narrowed down many of the 4K – 6K resolution challenges. These once complex high-end workflow pipelines are now fairly commonplace in many video production houses.

We all knew that High Dynamic Range color (HDR) is coming and as you can imagine working for a company like Adobe Systems (20 years now), I’ve been working with HDR in one form or another for many years. If you are new to HDR for video, in simple terms, it’s higher contrast/brightness and more accurate color that deliver a more “real world” experience. For years, I’ve worked with extremely high-end proofing displays and often wondered when/how would we get that quality delivered to the average consumer for everyday use. My peers and I would discuss these questions as they would range from the obvious workflow pipeline (moving huge files in/out of production) to content delivery to the consumer.

I’m here to tell you – 4k HDR is here, it’s real, it’s now, and I’m hooked.

HDR On 206

For the past several weeks, I’ve buried myself into the latest 4K & HDR technologies. As with any new technology you need to look at what will drive the change. Or – why would anyone spend money on this?

Whenever new TV technology comes out, it usually requires you spend a lot more money to buy additional items to get the full experience. These include things like expensive media players or worse, special 3D glasses that only work with that particular TV set and so on. For the record, I still dig good Stereo 3D content, but lets face it, it’s not really an everyday thing and it’s more or less a fad that had it’s time. I consider it more as a special event technology.

4K and HDR is anything but a fad. The sheer difference in image quality will leave in you awe. If you are new to 4K, you’ll quickly see that the image looks great when you are really close to the TV. This is completely opposite from your current experience with many LCD or Plasma sets which looks better from about 6-8 feet back. With 4K/UHD resolution sitting about 6-8 feet back from the TV it still looks great but any further back and you will quickly see that it starts to lose it’s effectiveness.

HDR 2020 432

With 4K and HDR content your experience is completely different. The image is strikingly better no matter how close or how far back you are. The simple reason for this is the new color space it now offers the viewer. I could go into a deep explanation of current TV standards known as Rec709 and switching to newer standards like Rec2020, but all you really need to know that the image is so different and more true to life, you’ll be hooked at first glance – guaranteed.

What about content? This was my first question when I started reviewing this technology. We all know to well that “Content is King” for any kind of mass adoption. As you can imagine, at first, I had lots of questions: What’s required for the full experience? Will I need to buy another media player? If so, forget it… I have too many already.

WOW, was I surprised when I started to look for HDR content. There is already HDR content ready to stream to your TV and no “extra” media player is required to view it as it’s all built in the Smart TV and ready to use.

Companies are already fighting for your “eyes on screen” time as there is simply too much video content to absorb in one day. The video production world is quickly ramping up and learning newer and faster ways to work with HDR as one sure way to get more eye on their screens.

People are always looking for new ways to see, experience, and share video content. I see HDR as hands down a clear winner for new content technology that will quickly evolve. If you remember the first time you saw HDTV vs your old TV , HDR will leave you with the same feeling.

Amazon HDR 505

What’s changed for content delivery in 2015 – 2016? As you might recall, previous advanced tech like HDTV or worse 3D, usually was centered around sports or specially video like nature shorts. Currently for me, Amazon has been the HDR destination place and they have some great new content with more coming. I’m currently hooked on a new show called “The Man In The High Castle” which is beautifully shot and breathtaking in terms of the total picture immersion experience. Tip- HDR really stands out in this series starting with episode 3 when there are brighter shots outside the city. Amazon has several other HDR series as well as movies. No question more are on the way and other media delivery/broadcast companies are taking note.

What makes it different and do I buy now or wait?

With HDR, for me it all comes down to the power of light and how to control it. How black is the black and how pure is the white? These are the image basics for great and accurate color. Hands down OLED is my current technology of choice. Once you see the difference between the various technologies it’s a no brainer.

Again, it’s all in the power of controlling the light. Here are 2 TVs showing LED vs OLED. There is virtually no bleed of the white light. In simple terms pure black is produced by turning off the voltage at the pixel level. You’ll quickly notice when the TV goes to pure black it looks as if the TV is completely turned off. Another bonus… OLED also draws less power compared to other LCD & Plasma technology and is razor thin and light weight.

LED vs OLED_3 900

 

LED vs OLED_7 900

 

sideview

While there are several companies making OLED TVs available, LG clearly as a company that is committed 100% to bring this technology to the home. They are basically putting all of their efforts in the OLED space and helping to bring the cost down to affordable levels for the average consumer. As with any new technology, it does come at a price when it first rolls out and settles down after several months. If you are looking for a long-term TV now rather than replacing your TV every few years then take a look at the new LG OLED HDR TVs. Your best bet is aim higher and keep the set longer and enjoy the new content as it rolls out.

webos2

Back to Content Delivery…LG has built their content delivery on webOS 2.0 . You might remember this technology from a few years ago from cell phone maker Palm Inc. and later sold to HP. In 2013 LG acquired WebOS from HP and it’s now part of the growing LG family of advanced technologies.  LG’s WebOS 2.0 for SmartTVs now includes even more powerful features in it’s software development kit making it a solid and fast technology to build a content delivery playback platform.

 

YouTube 4K
I reviewed lots of SmartTVs over the years and one thing always stood out…the built-in apps are too slow…. This includes many set top boxes that all had access to various Content Apps – all too slow… The webOS 2.0 App experience on the LG TV’s like the Curved 65EG9600 and the standard 55EF9500 is blazing fast. There are also additional free Apps you can download from the LG Content Store.

LG remote

For quick navigation, LG also provides a very simple remote that acts like an “Air Mouse” making application switching a breeze. You can quickly jump from 4K YouTube to Netflix or Hulu to Amazon HDR with a simple point and click just like your desktop or laptop.

What’s next in my HDR workflow testing for 2016? I’ve added LG 55EF9500 OLED display to my current editing suite and so far I’m very impressed with the result for 4K preview – actually it’s stunning. I also use a LG Curved 65EG9600 for viewing online content via the built-in webOS 2.0 as well as a 4K ready TivoBolt matched with a Yamaha RX-A1050 AVENTAGE 4K HDR receiver – Yes, I’m all in……

OLED Workflow copy 900

 

PremierePro CC HDR 700

Lastly , what about HDR preview in Premiere Pro CC ? I’m currently beta testing some new and some unreleased computers with the first HDMI 2.0 on board display output with new HDMI High Speed 18Gbps transfer speed, 4K @60, 48-Bit Deep Color, and Audio Return Channel (yes, to get all of the advantages of these new displays you need new cables  – look for Media Bridge $10.00 twin pack cables on Amazon) The goal is to see how/if we can use OLED technologies and HDMI 2.0 with 10bit/12bit color HDR workflows for desktop preview. I’ll also be looking for adapters to bridge SDI to HDMI 2.0 to carry those signals at CES 2016 for 3rd party I/O cards that currently offer 4K HDR over SDI.

4 8 stars

 

wide view

For now – well done LG on your successful rollout and commitment to OLED.
Only one small complaint keeping it from 5 stars … No Skype on webOS 2.0 and I use Skype a lot in my studio. Let’s hope that gets addressed.

More to come…

1:04 PM Permalink