What’s New in the Fall release of Premiere Pro CC 2014.1
by David Helmly
2 New videos posted:
Premiere Pro CC 2014.1 and New Features: http://youtu.be/KplBC9qGtQE
A Deeper Look at the GoPro CineForm Codec and Project Manager http://youtu.be/lgPksqpYsXA
El Nuevo Adobe Premiere Pro CC y el Codec GoPro Cineform http://youtu.be/hgLPbgGo7vc
We’ve been very busy working with our customers over the past year and watching them edit and taking note (wishlists) .As a result , we’ve designed a whole new streamlined interface with a new look and feel .
With Search Bins you can organize and sort media in large projects automatically for much improved discoverability of your project assets. When you search for items in the Project Panel , you can save the results as a Search Bin. Search once and use continue to use the results – I’ve been using it quite a bit and I’m already hooked. Remember these are just aliases of the original project items and not copied media so there are no worries about duplicated media. Once they are set up, no further user intervention is required: Search criteria are persistent so Search bins update automatically as relevant content is added to the project.
Render & Replace:
My prayers have been answered on this feature (more like 10 year meditation) . Now you can right click on a Dynamic Link or other effects heavy clip and Render it in place . Speed up your playback of VFX-heavy sequences by rendering After Effects compositions into flattened video clips. AND YES YOU CAN – always revert back to the original comps if you need to.
Consolidate and Transcode in the New Project Manager:
Streamline your workflow for large projects with mixed formats. Easily move all relevant files in projects and sequences to reduce you content based on user-defined preferences. Render everything into a single codec for passing on other teams, other systems, or for archiving – while retaining the ability to re-edit projects in the future. With the new Project Manager you can now collect your files and copy them to a new destination in their original camera file format or you have the option to trim your media with handles by selecting a codec transcode that fits your workflow. The New GoPro CineForm Codec is a perfect choice for many workflows.
Open media and sequences from other projects and edit them directly in your current project. Edit or re-use existing clips, cuts and transitions from previous projects. Open as many Media Browser panels as needed – now it’s easy to bring all your work together in one workspace. New GoPro CineForm Codec
Note: this article has been updated to include changes made to the GoPro CineForm color depth settings and encoding presets in Premiere Pro and Adobe Media Encoder CC 2014.2. (thanks to Tim Kurkoski on the AE team)
When encoding GoPro CineForm movies, two different pixel formats and five different compression methods are available. To change how the GoPro CineForm movie is encoded you need to set the color depth or the quality, respectively. This is a guide for how these settings map to the encoded results.
GoPro CineForm compression quality settings
The GoPro CineForm codec offers five levels of compression quality:
4. Film Scan
5. Film Scan 2
In After Effects, Premiere Pro, and Adobe Media Encoder the compression quality is controlled by the Quality slider in the Export Settings dialog. The range of this slider is 1-5, and the values map to the compression quality settings above. The default value is 4.
For more information about the differences between these compression quality options, read GoPro’sUnderstanding CineForm Quality Settings article.
GoPro CineForm pixel format settings
The GoPro CineForm codec can encode pixels in YUV 4:2:2 at 10 bits per channel, or RGBA 4:4:4:4 at 12 bits per channel.
The encoded pixel format is based on the color depth and alpha channel settings you choose in the Output Module Settings dialog in After Effects or the Export Settings dialog in Premiere Pro or Adobe Media Encoder.
In After Effects:
- Setting Channels to RGB or Alpha will encode to 10-bpc YUV.
- Settings Channels to RGB+Alpha will encode to 12-bpc RGBA.
After Effects renders the composition frames at the color depth specified in the Project and Render Settings, and the GoPro CineForm encoder will re-sample the frames to 10-bit YUV or 12-bpc RGBA as appropriate.
In Premiere Pro and Adobe Media Encoder CC:
- Depth can be set to either YUV 10-bit or RGBA 12-bit.
- If Render At Maximum Depth is enabled, the frames will be rendered at 10-bpc or 16-bpc before being passed to the GoPro CineForm encoder, which will re-sample the frames to the chosen Depth if appropriate.
- If Render At Maximum Depth is disabled, the frames will rendered at 8-bpc before being passed to the GoPro CineForm encoder, which will re-sample the frames to the chosen Depth as appropriate.
These settings are utilized by three encoding presets included with Premiere Pro and Adobe Media Encoder:
- GoPro CineForm RGB 12-bit with alpha at Maximum Bit Depth
- GoPro CineForm RGB 12-bit with alpha
- GoPro CineForm YUV 10-bit
regarding previous guidance and presets
In previous guides, the pixel formats for GoPro CineForm were described as being 8-bpc YUV, 8-bpc RGBA, or 16-bpc RGBA. Premiere Pro and Adobe Media Encoder CC 2014.1 included three encoding presets that reflected this.
This information was incorrect. The Depth settings for the GoPro CineForm codec and associated encoding presets have been updated in Premiere Pro and Adobe Media Encoder CC 2014.2, as described above.
In the CC 2014.1 release, setting the Depth to 24-bit (8-bpc) would encode to 10-bpc YUV, and setting Depth to 32-bit (8-bpc with alpha) or 64-bit (16-bpc with alpha) would encode to 12-bpc RGBA.
Additional info is available in the help doc :
There are a few things to note when using this codec outside of the Adobe apps. We use Quicktime as the container for the codec to insure cross platform simplicity. All videos encoded (Exported) with the GoPro CineForm codec will be .movs. This is true for both Mac & Windows. We can also read the GoPro Cineform .avi’s and .mov’s created by the GoPro Studio application. GoPro Studio currently uses a term Archive (see pict from GoPro Studio below) . This is actually the GoPro CineForm codec.
The big question is how people can actually playback the GoPro CineForm file outside of our apps (This includes older Adobe apps like Adobe Encore CS6) . Currently you need to install the FREE GoPro Studio app to get access to the codec for use outside our apps- the app is only 83mb which is about same size any typical decoder . You may already have their app loaded if you own a GoPro camera which is needed to update the firmware of the camera and so on. When you install the app , it loads the additional Quicktime resources to your Quicktime Folder to playback the files. (This will allow older Apps like Adobe Encore Cs6 to read these files and work as expected) Link for free GoPro Studio SW : http://shop.gopro.com/softwareandapp/gopro-studio-edit-software/GoPro-Studio.html ONE CATCH……. Mac users currently need to install Quicktime 7 in order to playback GoPro CineForm files outside of our apps. Quicktime X currently does not allow the GoPro CineForm codec and most other 3rd party Codecs to play back their codecs. I’m not sure if or when this might change. Windows users, you only have Quicktime 7 (currently 7.5.5 ) available to you so no issue on Windows. The current version as of today for OSX for Mac users is Quicktime 7.6.6. OSX users can still get Quicktime 7 here: http://support.apple.com/kb/DL923 In reality , most professional editors on the Mac still rely heavily on Quicktime 7 so it should not be a real issue, I just wanted to point it out early. I will say that the fact that Quicktime 7 can open and playback 6K files amazes me (yes, you need an SSD or 2) The current version of VLC 64bit for OSX (2.1.5) WILL NOT playback these files (yet ) . Current Error on VLC (as of today) when trying to playback a GoPro CineForm file New HiDPI support for Windows 8.1 : Mac users have had Apple Retina Display support for several months and now we are excited to offer it to our Windows 8.1 users . An updated interface that has been refined to offer users with high resolution displays (like 4K ) a beautiful viewing experience that makes text and graphics much easier to read.( No more 2 point text on 4K monitors) Source Monitor Timeline View: This is new concept to many – it certainly was to me….. The basic idea is that when you need view a sequence from another project (even on a server) , you can now use the Media Browser to select the project and it’s sequences. Once selected you can double click on the sequence and it will now open up in the Source Monitor and new type of Sequence will open that is in a read only state (think – safe mode) . You can now scrub and select areas of the timeline and copy/paste or what our users are already calling the Pancake method (see my video) to drag between timelines. So simple….. Only when you drag assets from the Read only Source timeline will then import those assets to the project. Only use the clips that you need without the need to import an entire project. One thing I noticed was less of a hit on the server just picking the clips I needed rather than taking up band width by moving files you may not need. New GPU enhancements: Leverage the power of the GPU with native support for 4K, 5K, 6K and higher content New camera format support : AJA RAW, Canon RAW, Phantom Cine, and Sony RAW. Even 6K RED R3D’s and BlackMagic RAW formats got a nice speed boost. Enhanced Masking and Tracking: Now you can Easily adjust mask feathering directly in the Program Monitor. You can use the new free-draw polygon pen tool to create complex mask shapes around content and turn any mask control point into a Bezier control point with a single click. Remember that you can also add a tracking to your Bezier path once you select it. Improved Master Clip Effects I’ll admit (as will my counterparts here at Adobe) , that our Master Clip Effect feature that we introduced last April is very powerful BUT, to be honest – it was very hard to tell which clips actually had a Master Clip Effect applied. Now you have 2 ways to tell when they have been applied. In the Sequence , you’ll see a Red line under the FX badge and in the Effects Control Panel (ECP) you’ll notice a NEW tab called “Master” – Improved Send to Audition: Now when you send a clip for audio editing in Audition, the rendered copy is automatically stored alongside the original media file on disk.
Find more details on new features coming soon to Adobe Creative Cloud: http://adobe.ly/1BjpeuV