What’s new in Premiere Pro CC and Adobe Media Encoder (v7.01) July 2013

by David Helmly

Created

July 10, 2013

 

Here’s a run down of the new July 2013 updates for Premiere Pro CC and Adobe Media Encoder (AME) . This updates their versions to 7.01. As you’ll see , our engineering has been very busy taking  feedback from our field teams and more importantly direct customer feedback. If you want to be proactive in feedback requests, you can use the Product Improvement Program feature built in all our applications under the Help menu. We read all of these comments daily.

1 Product Improvement

We do value your input. As many people have seen over the past few years, we respond via email to many of these feature request with straight forward answers and we really do value your opinion – it does matter.

In my 18 years here at Adobe, I’ve never seen this many updates in  .01 release  – it’s truly impressive and I’d like to take the the time to thank the Premiere Pro engineering team and Premiere Pro product management . This clearly shows what we can now do via this new software delivery model. Simply put, when engineering feels that the new feature or update is ready, it gets delivered ASAP . For those that are not familiar with the Sarbanes-Oxley Act , just google it and it should help to explain why we can do this now in the current subscription model. In our previous licensing model, many of these features would have been delayed until a future version.

BTW – I’ve already seen whats coming in the next set of updates for all of our Pro Video & Imaging tools and I can tell you first hand – hold on tight, it’s going to be a great ride……

 

Here’s a quick look at the New Feature notes for Premiere Pro CC v7.01

Create a unique title by duplicating a sequence title

You can now use a keyboard shortcut to quickly create a new sequence title based on the current sequence title in the Timeline.

In the Timeline, press Alt (Win) or Option (Mac OS) and drag a current title. A new unique title is created. Using the keyboard shortcut in the Timeline creates the same result as using the New Title Based on Current Title option in the Titler.

The newly created title is not a duplicate of the original title and does not reference the original master clip. Any revisions made to this new title are not reflected in the original title or its instances.

Some important points:

  • The Copy/Paste feature continues to use the workflow where duplicate instances are created and linked back to the original master title clip.
  • Besides the methods already mentioned, there are other methods to create a duplicate title. For example, you can use the Match Frame feature in the track item to load the master clip title in the Source monitor. You can then edit the title back into the sequence, or find the original master clip title manually and edit that into the sequence.

Enhancements to “Lift or Extract” feature

The Lift or Extract feature in Premiere Pro lets you easily move portions of selected clips from one sequence to another.

In previous versions, Premiere Pro required you to set both an In and Out point to define the range to be “Lifted” or “Extracted”.

The Lift or Extract feature is now enhanced to work when either an In point or an Out point is set. When only an In point is set, Lift or Extract works on the segment starting from the In point and ending at the sequence end. When only an Out point is set, Lift or Extract works on the segment from the beginning of the sequence to the Out point.

Copy, Cut, Clear works on In/Out points

The Cut, Copy, Clear functions in Premiere Pro work on targeted tracks that have In or Out points set in that range. You can use these functions without selecting specific clips in the sequence.

If you set only an In point, then an In/Out range is not required. The Cut, Copy, Clear functions work on the targeted tracks from the In point to the end of the sequence. Similarly, when you set only an Out point, the Cut, Copy, Clear functions work on the targeted tracks from the beginning of the sequence to the Out point.

Enable/disable clips using Enable Clip command

You can now quickly toggle between the states of enabled clips. While previewing edits, this feature helps you switch back and forth between two different playback results.

When you select multiple clips with mixed settings, you can use the Enable Clip command as a toggle to enable/disable the clip. For example, if Clip A is enabled and Clip B is disabled, selecting both clips together and using Enable Clip results in disabling Clip A and enabling Clip B.

To use the Enable Clip command, right-click (Win) or Ctrl-click (Mac OS) a clip in the Timeline, and select Enable from the context menu.

Frame matching using clip selection

In previous versions of Premiere Pro, the Match Frame command used Track Targeting to identify the clip in the Timeline to match. Now, clip selection supersedes track targeting. When you select a clip, Match Frame ignores track targeting, and matches to the frame under the playhead in the selected clip.

Some important points:

  • When you select a clip, ensure that you place the playhead on a frame within the selected clip. If the playhead is placed on a frame outside the selected clip, Track Targeting is used, and the frame on the topmost targeted track is matched.
  • When you select multiple clips, the playhead is placed over more than one clip. The Match Frame command then matches the topmost clip.

Relinking offline sequences

The Link Media command is now available for offline sequences. This command lets you relink all the media used in a specific sequence without having to relink all the media in the project.

Using the Link Media command

  1. Right-click (Win) or Ctrl-click (Mac) an offline sequence and select Link Media from the context menu. All the clips used in that sequence appear in the Locate Media dialog.
  2. Relink the offline sequences just as you would relink any selection of offline clips.

Alternatively, in the Timeline panel, right-click (Win) or Ctrl-click (Mac OS) a sequence tab, and selectLink Media from the context menu.

Enhanced EDL Export dialog

In previous versions of Premiere Pro, you manually deleted key tracks and transitions to create simple EDL (Edit Decision List) files. You can now exclude key tracks and transitions directly from the EDL Export dialog.

The EDL export dialog includes two new options that let you include or exclude key tracks and transitions.

  • Include Key Track
  • Include Transitions

By default, the Include Key Track option is deselected and the Include Transitions option is selected.

To export an EDL without transitions or key clips, deselect Include Transitions or Include Key Track. The transitions and V2 clips are retained in the sequence.

2 EDL Export Settings

Reveal in Project from Source Monitor

A clip displayed in the Source Monitor can be easily located in the Project panel.

Load a clip in the Source monitor and right-click (Windows) or Ctrl-click (Mac OS) a clip in a sequence, and choose Reveal In Project. Premiere Pro then locates the source clip in the Project panel and selects it.

Linked Selection toggle button available from Timeline

Premiere Pro provides a Linked Selection command that can be applied to all open sequences in the Timeline panels. You can use the Linked Selection command as a toggle that you can turn on and off. Linked Selection is turned on by default.

The Linked Selection command is available as a button from the Timeline, and from the Sequence menu. You can also assign a keyboard shortcut to this feature.

When Linked Selection is turned on, clicking a linked clip in the Timeline automatically selects all the associated tracks. For example, if you click the video part of a linked A/V clip, the audio is automatically selected.

When Linked Selection is turned off, only the single track item that you click is selected, and not all the associated tracks.

You can temporarily override a toggle state by pressing Alt (Win) or Opt (Mac) while selecting the track. For example, if Linked Selection is turned on, and you press Alt (Win) or Opt (Mac) while selecting a linked clip, only the single track that you click is selected.

Reveal in Finder from Timeline

This feature lets you select a sequence clip and locate its linked media file on disk.

The Reveal in Explorer (Win) or Reveal In Finder (Mac OS) command is available in the clip context menu. When you choose this command for a selected clip, the Finder or Explorer folder containing the clip’s linked media file is opened and the selected file is brought to the front.

Default start timecode preference

Premiere Pro lets you change the start time of sequences from 00:00:00:00 to a start time of your choice. You can set the specified start time as the default start time.

In the Timeline panel menu, select Start Time. In the Start Time dialog, enter the start time, and select Set As Default For Future Sequences. The start time that you enter will be the default start time for all new sequences.

Drag and preview files in Source Monitor  

You can now preview files more easily by just dragging the files from a Finder (Mac OS) or Explorer (Win) window directly into the Source monitor. The preview is similar to previewing clips from the Media Browser before importing them into the project.

A new project is created for the clips that you drag into the Source monitor; the clips are not automatically imported into the current open project.

Match Frame enhancements

The Match Frame feature now lets you match frames from the Source monitor to the source files of a sequence. With this enhancement, you don’t have to first open the sequence in the Timeline and match frames from there.

For a Multicamera sequence, Match Frame first opens the selected camera source clip in the Source monitor. If either regular sequences or multicamera sequences are nested, additional Match Source Frame commands open all source sequences until the correct source file is opened.

For example, the Match Frame command first opens the multicamera source sequence in the Source monitor. The next use of the Match Frame command opens the original source camera clip for the selected angle in the Source monitor.

Note:

When the Program monitor is in Multicamera mode, the lowest targeted track is displayed in the monitor. In this mode, the rule to “Match Frame From” is reversed, and the lowest track is used. To override this behavior, select a clip on the desired track to match frame from.  

Easily identify offline clips from Timeline

In previous versions of Premiere Pro, an offline clip appeared in red in the Timeline only on expanding the track. Now, all offline clips appear in red, even without expanding the track. This enhancement lets you easily locate offline clips from the Timeline.

New Tone Settings dialog  

Premiere Pro provides a new Tone Settings dialog that lets you create Bars and Tones clips at -20dB amplitude.

Using the Tone Settings dialog

  1. Double-click a Bars and Tones clip to open the Tone Settings dialog.
  2. In the Tone Settings dialog, specify the audio settings.
  • Select Steady Tones to create a Bars and Tones clip at any desired frequency.
  • Select Identify Channels to create a Bars and Tones clip that adheres to EBU audio standards.

3 Tone Settings

Open Closed Caption clips from Captions panel

You can now double-click a captions clip in the Captions panel, and view the contents of the clip. If the Captions panel is already open, Premiere Pro brings the Captions panel into focus.

Source Settings dialog accessible from Timeline

For clips that offer source settings, such as RED and Arri Raw, you can access the Source Settings dialog directly from the Timeline.

In the Timeline, right-click (Win) or Ctrl-click (Mac) a clip in the sequence, and select Source Settingsfrom the context menu.

Note:

Source Settings adjustments are applied to master clips. When you adjust the source settings of a clip in a sequence, the settings are applied to its master clip and any other instances used in that sequence.

Auto-save improvements

In previous versions of Premiere Pro, even if you specified Auto-Save to execute at regular intervals, if an activity occurred at the specified interval, Auto-Save was blocked. Now, if Auto-Save is blocked by activity, it is put on hold, and retriggered during the next period of inactivity.

In earlier versions, Premiere Pro executed an auto-save when there were unsaved changes in the currently opened project. The potential consequence of that was leaving a project open with unsaved changes for a long enough period led to all the auto-save versions becoming identical, wiping out potentially useful versions to roll back to.

Now, if the system goes idle for a period beyond the interval setting, no further Auto Save files are generated until Premiere Pro detects changes to the project file. This change conserves the maximum number of auto-saves per project, and saves only the useful archived versions.

Improved timelapse support when adding clips to a sequence 

When you add clips created from still images to a sequence, you can specify the duration of clips (in frames).

To do so, in the Automate To Sequence dialog, under Still Clip Duration, select Frames Per Still and enter the number of frames.

4 Automate to Seq

New preferences

Turn-off automatic restarting of playback

By default, Premiere Pro plays a clip or sequence until the end and stops on the last frame. When you press the spacebar (initiating Play again), the playhead automatically jumps to the beginning and restarts playback from there.

You now have a preference that lets you turn off the feature of automatically restarting playback from the beginning. To do so, go to the Preferences dial box, under the General category, deselectAt Playback End, Return To Begin When Restarting Playback.

Note:

This preference applies to both clip and sequence playback. The preference controls playback in all the panels where playback can be initiated, like Timeline, Source and Program monitors, Audio Track Mixer, and Effect Controls.

Set focus to Timeline after inserting, overwriting edits

Premiere Pro provides a preference to control focus on the Timeline after performing Insert/Overwrite edits. Selecting this preference automatically sets focus to the Timeline after each edit. You can quickly preview your edits without manually setting focus to the Timeline.

The Set Focus To Timeline After Performing Insert/Overwrite Edits preference is available under the General category in the Preferences dialog box. The preference is deselected by default.

New and changed keyboard shortcuts

Navigate edit points in Source monitor

You can use Up and Down arrow keys to navigate to Begin/End and In/Out points in clips loaded into the Source monitor.

This navigation feature works on both individual clips or sequences loaded in the Source monitor.

For clips, the navigation steps through Clip Start, In point, Out point, and Clip End. For sequences, the navigation steps through Sequence Start, all individual edit points within the sequence (on all tracks), and Sequence End. The In/Out points for sequences are ignored.

Some important points:

  • You can continue to use the Up and Down arrow keys to select the next and previous clips in the Timeline.
  • In previous versions of Premiere Pro, the Up and Down arrow keys navigated to next/previous clip markers in the Source monitor. With this update, to navigate to the next clip marker, use Shift+M. To navigate to the previous marker, use Ctrl+M (Win) or Shift+Cmd (Mac).

Clear In and Out points in Project panel

You can now use keyboard shortcuts to clear the In, Out, or In and Out markers from multiple selected clips in the project, instead of doing it one clip at a time.

You use the same Marker menu keyboard shortcuts that you use in the Timeline, Monitor, and other panels.

Results Win Mac
Clear In Ctrl+Shift+I Opt+I
Clear Out Ctrl+Shift+O Opt+O
Clear In and Out Ctrl+Shift+X Opt+X

Toggle focus between Source and Program monitors

You can set a keyboard shortcut to toggle focus between Source and Program monitors. You can use this shortcut to set focus on individual panel focus shortcuts without using a Mouse.

 

Adobe Media Encoder (AME) Bug Fixes in v7.01

** Note ** I’ve given you a list from our engineering and support notes on the bug fixes for AME. Primary areas of focus were Closed Captions, H264  encoding, MPEG2/m2v encoding, issues reported on encoding lengths, and artifacting in Quicktime Animation export when using Smart Rendering.

Fixes 

bugs fixed in closed captions:

  • Timecode started from zero in closed caption sidecar files in some cases in which they should have had non-zero start times.
  • QuickTime movies with embedded closed captions had the wrong frame size in some cases.
  • STL or XML sidecar files for closed captions were not being written when closed captions were embedded in the source files.
  • Exporting and re-importing closed caption sidecar files deleted some characters.
  • Closed captions settings were not retained in Adobe Media Encoder (AME) when the source was a Premiere Pro sequence or a clip with embedded closed captions.

bugs fixed in H.264, MPEG-4, and MPEG-2 exports:

  • H.264 exports were of the wrong duration (longer or shorter) under various conditions.
  • When transcoding a clip to MPEG-4, the exported video frame rate was less than what was specified; the audio duration was correct. This makes the video portion longer than the original.
  • MPEG-2 and MPEG-2 Blu-ray exports failed with some settings.
  • Switching to NTSC from PAL didn’t show the proper frame rate options for some combinations of Profile and Level settings for MPEG-2.
  • When using the Match Source command, the matched Profile/Level values weren’t updated according to the current bitrate until reopening the Export Settings dialog box.
  • Changing the Key Frame Distance property was not recognized as a setting change if the box was checked/unchecked by clicking the text area rather than the box itself.
  • When creating the system encoding preset with Match Source enabled, bitrate sliders were not created with the full range of possible values for the given Profile and Level combination.

other bugs fixed:

  • Incorrect flavor of ProRes files were created because of an error in smart rendering.
  • Garbage characters appeared in Korean and Simplified Chinese on the OK button in the Preferences dialog box.
  • Improvement in inefficient code for RED (.r3d) importer.
  • A .m2v Blu-Ray file exported from Adobe Media Encoder didn’t work in Encore, failing with the error “reached end of stream before finding start code”.
  • Encoding from MPEG-2 source files failed the first time.
  • P2 AVC-Intra media exported from Premiere Pro with drop-frame timecode was imported into Adobe Media Encoder with non-drop-frame timecode.
  • AVC-Intra media exported from Premiere Pro was not being accepted by XTAccess system.
  • Incorrect audio was being encoded at the end of a file.
  • Smart-rendered QuickTime movies with the Animation codec contained video artifacts.

 Manual Downloads

Premiere Pro 7.01 Update Mac: http://www.adobe.com/support/downloads/detail.jsp?ftpID=5601

Premiere Pro 7.01 Update Windows: http://www.adobe.com/support/downloads/detail.jsp?ftpID=5604

AME 7.01 Update Mac: http://www.adobe.com/support/downloads/detail.jsp?ftpID=5606

AME 7.01 Update Win: http://www.adobe.com/support/downloads/detail.jsp?ftpID=5605

 

All downloads: http://www.adobe.com/downloads/updates.html

 

You can also see any changes here via the “What’s New”  pages:

http://helpx.adobe.com/premiere-pro/using/whats-new-premiere-pro-cc.html

 

 

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