Posts in Category "General"

July 25, 2014

Premiere Pro CC 2014.0.1 and AME Update

201401

What’s new

Premiere Pro CC 2014.0.1 Release                             Build 8.01 (21)

Editing Enhancements:

• A Codec column was added to the Project Panel

video codec1

videocodec2

 

 

• Sequence Timecode was added as a display option in the Monitor Overlays

• Clip name and Timecode filters can now be set to reference and display information for clips on specified source tracks.

Bug Fixes:

• ‘Async’ asserts could occur when exporting some file types

• Incorrect angles could be shown when separate multicam clips were created with different sort order

• Waveforms could be improperly drawn when nesting a multicam source sequence

• Effects could fail to render within effect mask boundaries

• Garbage could appear around the edge of a layer that had a blur video effect applied and a mask on Opacity

• Masks could offset Gaussian Blur in CUDA mode

• Attempting to move a column to the left of the Name column in the Project panel could break cell selection

• Occasional instance where sequences could never finished rendering

• Relinking to spanned MXF clips could be incorrect

• UI responsiveness could reduce in large projects after relinking

• Exporting merged clips could generate silent or missing audio

• Importing sequences could sometimes fail

• Incorrect timebases could be used on EDL export

• Incorrect field display could occur when using Mercury Transmit with GPU acceleration

• Audio presets were sometimes not working correctly if used with a different format container

• Complex video assets could produce a blurry image every 1 second when encoded into H.264

• Mask Expansion could not be rendered correctly during preview scrubbing on layers that were scaled to 50% or less

• Applying a speed change to a multicam clip could cause the extended duration of the clip to play with no video

• Merged clips that contain clips with sync offsets could display out of sync indicators when used in a sequence

• Crashes could occur during export to QuickTime.

• Masking and Tracking: Brightness & Contrast could be incorrectly displayed in an Adjustment Layer

• File import failures could occur when no assets were selected in the Locate Media dialog

• Asserts and crashes could occur when exporting project to OMF

• Crashes could occur when rendering audio with a locked submix track

• Submixes could sometimes lose audio

• Noise could be heard in submixes with empty tracks

• Source monitor timecode and program monitor overlay could be off from one another in multicam sequences

• Audio overlays for Multicam and nested sequences would only display as audio time units.

• 24p/50p XDCAM EX files were sometimes 1 frame short when smart rendered

• MPEG2 TS files with 6 tracks of stereo audio could only play/show first stereo track when imported in to PPro

• Playing IMX 50 clip freezes video after 12 seconds. Timeout on async asserts in 8.1

• Locking all Audio Tracks could cause the system to slow down dramatically

Adobe Media Encoder CC 2014.0.1 Release                          (Build 8.0.1.48)

Enhancements:

• Added support H.264 level 5.2 which allows for 4K outputs up to 60 FPS.

• New Youtube 4K QuadHD Preset (3840×2160)

Bug Fixes:

• Improved DCP Color Calibration

• Fix for blurriness issues in complex H264 encodes

• Fix for XAVC encoding failures for assets with no audio

Prelude CC 2014.0.1 Release

• Fixes a bug with the trial usage

 

Download Updates:

**Note** always use the Creative Cloud app to help keep track of updates new CC versions and only use these links if you need to install updates offline.

Mac:

Premiere Pro http://www.adobe.com/support/downloads/product.jsp?product=98&platform=Macintosh

AME http://www.adobe.com/support/downloads/product.jsp?product=160&platform=Macintosh

Windows:

Premiere Pro http://www.adobe.com/support/downloads/product.jsp?product=98&platform=Windows

AME http://www.adobe.com/support/downloads/product.jsp?product=160&platform=Windows

3:19 AM Comments (0) Permalink
March 7, 2014

Working with PremierePro CC & the New Mac Pro

I’ll start off by saying that this New Mac Pro is pretty amazing given it’s size. If there is an award for a size to workflow power ratio this machine would wins hands down. Only to be followed only by the Gigabyte Brix Pro w/Iris Pro5200 which measures 5” – but that’s another story. I’ve been reading various blog articles on the performance of this New Mac Pro and decided I should share some of my findings and do a quick video blog showing what I’m seeing and testing.

[UPDATE July 1st] 

We are aware of an issue affecting users of Adobe Premiere Pro CC and Adobe Media Encoder CC on Mac OS X 10.9.3, as of today, Apple has released OS X 10.9.4 which addresses the issue. 

Link to Video: http://www.youtube.com/watch?v=8yZsUWV_8mI&feature=youtu.be  As many of you know, I tend live on the high-end of tech working closely with our various vendors and partners and their hardware prototypes giving feedback on early hardware as it relates to new high-end workflows for our Pro Video customers. I also try to pick add-on components that truly enhance the user experience and to expose those technologies that will tend to make a  make a difference. LG monitors I mention this because this New Mac Pro has inspired a whole new set of add-ons . Take the new LG 21:9 UltraWide QHD (http://www.lg.com/uk/ultrawide/UM95.m ) for example  - which at first glance might not seem like a big deal – but this is actually a very well thought out display. (Take it from me, I used to work for Radius/Supermac back in the early days used to live and breathe high quality monitors and graphics cards). This display has Thunderbolt 2 (two ports) , USB 3, two USB 2 ports, Displayport, HDMI, and a headphone jack. This means, I can connect more than 1 computer to it and use the monitors built in controls to switch from computer to computer. It is missing an Ethernet port ( the Apple 27”has a built in GiGe port) but it was easily solved by buying a GiGe USB to Ethernet adapter for 29.00 on Amazon which keeps my Thunderbolt ports open for the mac . This monitor is also a must have for any RED Dragon 6K user as it gives you the closest a edge to edge picture  at 21:9 that I’ve seen yet and colors are excellent. partners Other devices like the Promise Pegasus 2 are continuing to do well in the Mac Thunderbolt space as I see them everywhere and customers are telling me that they are very happy with the performance and reliability. Lacie has done a great job with their portable Thunderbolt 2 raid with fastest speeds I’ve seen yet on a portable drive. I’m also looking forward to seeing more from companies like G-tech as I do use and rely on their EV Docks and drive packs quite a bit. No doubt they have a Thunderbolt 2 roadmap…. Screen Shot 2014-03-04 at 10.31.23 PM The system used in the video is a 12 core Xeon, 16GB ram (still waiting on my 64GB kit) , 1TB internal boot drive, Dual AMD D700. This video is mainly centered around the AMD D700 ‘s and OpenCL . Anyone looking for info on whether to buy a 6, 8, or 12 core can clearly see that the D700’s , 32 or 64GB RAM, 1TB boot drive, Processor is how I personally rate the $$ spend priority (in that order)  for this config. I tend to always buy high-end so I can be a better informer. **note** I always recommend higher amounts of RAM for longer projects. Since my tests were short, the 16GB worked fine. opencl The first test was to stack on 9 layers of 1080p video with 12 GPU effects on each clip. Yes, I could have done more layers and GPU effects, but I tried to quickly create a scene opener that was more real-world and would give a good sense of day to day user experience. This first demo was to show that you can select video clips and effects and make changes to those effects while the video is still playing. Adjusting effects parameters while the video is playing adds a whole dimension to creative workflow. I usually look at my external display (use Preferences>Playback to turn on external displays via Transmit) set up a loop point and make adjustments as you see in the video. green dot As you watch the video, keep an eye on the drop frame indicator (Green dot ) and note that at all times we are previewing in Full quality on this New Mac Pro, not a fractional resolution. **Note** You turn on the Green Dot from the Side Wing Menu on the Program monitor. cameras The next test is the 4K test. Here again I tried to show a real world 4K workflow using different cameras on the same timeline. I’ve been a RED user for a longtime and can tell you that adding cameras like the Canon 1DC, and BMD Cinema 4K, and the new Panasonic GH4 to your 4K workflow gives you a ton of options when shooting. I spent some time using the new GH4 4K camera  and can say it is an amazing 4K camera for the price and it will find a place in my camera bag for sure. Even the BMD 4K camera (I borrowed one a few weeks ago – thanks Sonny) is amazing ProRes422 HQ camera for the $ 2,995.00 price. This will show a mixed 4K timeline with GH4 , 1DC, XAVC, ProRes422, and Sony RAW running on the LG 21:9 (3440×1440) and the Sharp 4K display (3840×2160) at Full 4K resolution. I also added and adjustment layer and 3 way corrector and adjusted the properties while the video was playing at Full 4K resolution- Honestly, I was stunned to see how this New Mac Pro performed. It did not skip a beat….. time The next test was the biggest eye opener for me: The EXPORT test. Here I export the above mentioned 4K timeline where every frame needs to be recreated. The results with the Dual AMD D700 were 15 seconds vs software only (12 core CPU) were 2 minutes 30 seconds. This was a fairly simple test showing our 64 bit pipeline and GPU work in action. To be fair, If you added non accelerated effects with GPU effects (redline) , the CPU and GPU would be working together in a more real-world scenario. It’s important to note at that if you ever need to render the timeline , we do use all CPUs and all GPUs to complete the render while working in Premiere. The render tests I did were also impressive to say the least. I did not show those as I was trying to keep the demo around 10 minutes –  Easy enough to test yourself. I know I’ll get questions on why I did not show Single GPU vs Dual GPU and simple answer is that we have special builds of Premiere Pro CC where we can turn off certain options and it’s something a user can’t really test. Remember , the New Mac Pro comes with 2 GPUs in all configs. RED I saved  the best for last …. As many of our users know, Adobe and RED have worked closely together since the very first days of real 4K editing and I think everyone can agree that RED set a lot of this 4K momentum in to motion. Adobe engineering has been working with RED on using new GPU technologies  to allow for full debayering of R3D media. On the New Mac Pro , current tests show that it can handle 4K R3D files at Full Debayer while both 5K and 6K Debayering are dramatically improved with the use of the dual GPU.  Keep your eye on your Creative Cloud app for updates. More cool stuff in the works.

10:48 PM Permalink
July 10, 2013

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

 

 

10:45 AM Permalink
June 18, 2013

Installing Premiere CC & Encore CS6

( UPDATED) 2014 release of Creative Cloud  

June 18th, 2014

I’ve had a few questions on how to get Encore CS6 installed from Creative Cloud . Encore is actually part of the Premiere CS6 Family installer. You need to follow these 3 steps.

**Note ** These steps can be used to install any older version of CC or CS6.

 

1. From the Creative Cloud app (shortcuts in the upper right corner on OSX or lower right Taskbar area on Win 7/8) open the Creative Cloud app and scroll down the app list until you see “Filters & Versions”  and  select [Filters and Versions] and a drop down list will appear.

2. From the Drop down list select [Previous Version]Step 1 & 2

3. Scroll down until you see Premiere Pro  and select [Install] . You will see a list of older versions back to CS6. In this case , you’ll see version CS6 and CC 7.0

** NOTE ** make sure you are choosing Premiere Pro  - see pict below – and NOT the newer version Premiere Pro CC  (2014) to see previous versions.

Step2 copy

There’s also a KB article here – http://helpx.adobe.com/creative-cloud/kb/download-previous-versions-creative-applications.html

 

If you want more info on using Encore CS6 with Premiere Pro CC you can refer to this video:

11:46 AM Permalink
May 13, 2013

Using Premiere Pro CC & Encore CS6 for Bluray, DVD, and Interactive Video

In this video, I’ll guide you through using our New Adobe Premiere Pro CC and Encore CS6 to burn Bluray and DVD disc in a few easy steps. I’ll also give you some quick tips on making videos with interactive poster frames and chapter markers for iPad, iPhone, AppleTV and other mobile devices.

9:23 PM Permalink
April 24, 2013

NAB 2013: What’s new in Premiere Pro

Here’s a video my buddy Ryan Brown (Indie Film Maker – http://blog.iamfilmguy.com/) shot in our booth. He’s got a great shooting style when it comes to shoot these types of “run and gun” videos.

In this video I give you a few of my favorite features that made the cut in the next version of Premiere Pro (2013). The features that I’m showing all came from end user requests via our Product Improvement Program under the Help Menu. Engineering really came through on this version and made over 200 changes without disrupting our current interface – no easy task. I’ll be posting more of those features shortly.

10:46 PM Permalink
July 23, 2012

Adobe Premiere Pro CS6 Partner Panels featuring Pond5

In this video you’ll get a chance to see how adding an Adobe Partner Panel can add additional features to your Adobe applications. I’ve selected Pond 5 as a featured partner to show this off. You’ll be able to quickly add clips to your Project Bin directly within Premiere Pro CS6. Pond5 is free to sign up and start using. You’ll have the option to purchase the HiRes versions of the clips once see how they work in your existing project. It’s an excellent workflow and a great way to add clips to any project. Here’s the link to get the free plug-in for Premiere Pro CS6: www. pond5.com/adobe

1:27 PM Permalink
May 18, 2012

Premiere Pro CS6 and NewBlue FX Title Pro

I’ve invited Travis White from our Plug-in Partner NewBlue FX to give us a quick look at their new Titler for Premiere Pro CS6. I’ve found it incredibly easy to learn and offers some very cool optons for Premiere Pro user.These guys also offer a ton of other cool effects as well. Make sure to check out their website for more cool Adobe “add-ons” http://newbluefx.com/

8:00 PM Permalink
April 14, 2012

Intro to Premiere Pro, Prelude, and Encore CS6 & Mercury Transmit I/O

Just the first of several videos I’m working on to show off a few of my favorite new features of Premiere Pro CS6. This Transmit feature is a feature we’ve been working on for a quite a while to make it easier to integrate 3rd party hardware from partners like AJA, BlackMagic, Matrox, BlueFish and more. This new API basically puts the control of the output/monitoring on the “Adobe Side” of the equation . No more need for special Presets for each 3rd party card or special editing modes.

The driver development for the 3rd party is also much easier as they no longer have to write special sequence playback modules . The biggest feature that Transmit bigs to the user is the ability for the 3rd party hardware to take full advantage of the Adobe Mercury Playback engine whether it’s a supported Cuda, OpenCL, or software only configuration.

Check it out:

3:07 AM Permalink
April 19, 2011

Adobe CS5.5 running over Intel’s Thunderbolt @ NAB 2011

Just a quick blog update from NAB 2011.

One of the coolest tech demos at this years NAB was Intel’s Thunderbolt technology. As you may have seen in my previous blog entry, Apple’s newest laptop has the Intel Thunderbolt port that shares the same connection as the Mini Displayport . Currently, this is the only computer shipping with a Thunderbolt port – remember that you can’t simply add a Thunderbolt port, it’s tied into the logic board/Bus and processor. This is a feature you will want to watch for on your next computer purchase if you use uncompressed files or need to move large project files around.

As walked the show floor during setup, I saw several booths with Thunderbolt on display and none of them gave people the opportunity to see a complete workflow from computer to SDI output. Most of them were out of reach and under a piece of clear plastic. I wanted to give people a chance to play with the timeline and experience Thunderbolt first hand. Thanks to Promise Technology(Raid), BlackMagic Design (IO) , and iKan (7” SDI monitor), we were able to pull together a great display with in a few hours.

The real credit on the Adobe side goes to our Pro Video engineers and the Intel engineers who closely worked together over the past few years to insure that our 64 bit Mercury software playback engine could take full advantage of the “Fat Pipes” that Thunderbolt provides. As many of your know, Uncompressed video is not that much of strain on the processors like h264 video, but you do need a clean 64 bit path to deliver that much data from the timeline to IO like the Blackmagic unit demonstrates. All of these pieces need a clean 64 bit path and need to work together.

Click on the video shot by ProVideoCoalition.com to get a quick idea of what this is technology is all about. I’ll be working on more tech demos as new Thunderbolt hardware is rolled out. Several vendors are planning to offer Thunderbolt connectivity in the near future have already contacted me. This includes, Cameras, IO devices, Displays, Raids, and PCs.

Stay tuned….

Click below to play the video.

2:48 PM Permalink