Posts in Category "Uncategorized"

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


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



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.


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
February 2, 2015

My Little 11″ MacBook Air …

I have to admit that I really missed carrying my 11” MacBook Air (2012 model) with me on my travels. The internal SSD was just getting too small to demo our apps with all of my demo files and I basically was using it less and less. With my huge 4K and 6K demo files , I had to use an external drive which worked fine but really took away from the cool factor of this tiny but powerful computer that not much bigger than an iPad. – and yes, with Premiere Pro’s Mercury playback engine , even the MacBook Air with 1GB Intel OpenCL graphics can edit 4K & 6K video…..

As my good friend Terry White ( and I have known for years, OWC understands our “Mac upgrade” pains so well. With a quick click over to the OWC website, I quickly found exactly what I was looking for – a 1TB internal drive SSD module which is actually larger than my current 15” Retina MacBook Pro @ 750GB .

install guide 1

The hardware install part of the upgrade took me less than 5 minutes . OWC even has a full online installation help sections with video “Walkthru” guides and phone support if you need it. What also makes this the perfect and easy upgrade is that they have really thought of everything . They give you both Torx drivers. These are also fairly high quality Torx drivers that you will actually want to keep after the installation. These quick pictures show the process.

install videos






The old 512 internal SSD model would be useless in most cases relegating it to a drawer somewhere, but OWC also includes an Envoy USB 3.0 sleek looking case that matches the side profile of the MacBook Air to re-use the proprietary memory. You even get rubber feet to hide the screws and a small black velvet slip case to keep it looking shiny and new.






Using the BlackMagic Disk Speed Test, I ran a speed test on the external memory and I got 387 Mbs on the Read and 320 Mbs on the write

Speed Disk External

If you are curious the internal memory module got an impressive 516 Mbs Read and 426 Mbs on the Write. – wow is all can say…. This Tiny 11″ is now back in my Laptop Bag !!!

Internal test

5 out of 5 stars on the TechTable….

5 Stars copy

5:37 PM Permalink
January 8, 2015

My #1 pick for 2014

LG Desktop


As many of you know, I review a ton of gear each year and I often get asked which piece of gear I found most useful for my daily work and which piece of gear would I most recommend that people consider adding to their workflow and why…

In past years, my pick usually involved getting better pictures from cameras but this year we saw our share of some great new tech for the video professional. Gimbals like the DJI Ronin and smaller units like the iKAN FlyX3 but the one item that stands out the most to me and one I recommend to clients several times a week is the new line LG 34” super wide  displays . LG actually calls these “LG UltraWide” which is more accurate description.


Why a display? For starters, it’s more than “just a display “, it’s a well thought-out 21:9 display with a Thunderbolt 2 dock built in! With one cable I can connect my Thunderbolt desktop or laptop to the display and get all my necessary connections as well as unbelievable desktop space for editing. As you can see from the picture of my busy desk , I have a lot going on as I have 4 editing systems in my editing bay ranging from OSX , Windows 8, NVIDIA , and AMD GPUs. This set up actually allows me to do bench marking as well as answer questions from customers based on different configs.


In the past it took 3 monitors connected to an expensive Gefen Display Port 4×4 KVM switch and a ton of cables. As many of you know, it’s very common to run 3 displays in order to get the real estate they need to organize their work. With the newUltraWide LG’s , you can actually reduce those down to two displays- one for editing and one for 4K preview. For me, it also provides a wider timeline view without the need to keep switching resolutions back and forth. The key benefit on the technical side but only using 2 displays you are saving GPU processing resources by only needing to “push” 2 displays rather than 3 (less pixels to refresh) . As many New Mac Pro users now know, having too many displays on your system taxes performance on the AMD D500 or D700’s and understanding the 3 different Thunderbolt Buses is critical to the New Mac Pros performance. With the newer LG 34”UltraWide , you can rest easy with less configuration headaches.

I started using the 34UM65 Thunderbolt 2 displays in early 2014 and quickly found them to be the answer I was looking for. I tried using a single 4K display as well but editing on a 4K display requires more GPU to access the 4K real estate and you still need a 2nd display for full screen preview. As LG figured out, the simple answer is width not height.

LG quickly followed up with their Curved version of the UltraWide display 34UC97 which is what I now use daily – I can honestly say that the best just got better….

LG Desktop copy copy

New Mac pro Z820

As you can see in the picture above, There are 2 UltraWide displays on my editing desk. One for my HP Z820 (now with Thunderbolt2) and one for my New Mac Pro. Each editing platform has a matching 4K display for 4K preview as well as additional workspace.

One cool thing about Premiere and using multiple displays: whenever you jump out of Premiere (say to your desktop) , Premiere will release the full screen preview and present your expanded desktop allowing for additional workspace. Again , using only 2 displays. Tip: you access these settings in the Preferences>Playback>Video Device area (also known as Mercury Transmit

A few things to point out: The new LG 34UC97 and the previous version allow you to connect 2 computers and split the screen to a single display. This might be handy for people that want their laptop and desktop or Windows and Mac systems available at the same time with out needing a switcher. If you are a Windows 7/8 user , consider getting a newer PC  system with Thunderbolt 2. I have a single connection from my HP Z820 to the LG and it works great. Of course this is the current norm for Mac users already it’s just great to see HP, Lenovo, Dell, Gigabyte and others supporting Thunderbolt 2 as well.

If you have a system without Thunderbolt, you can still use the Displayport and HDMI connections. The good news is that you’ll have a Thunderbolt 2 ready display for your next system upgrade. I routinely recommend this display for users still wanting to use their older Mac Pros with a newer NVIDIA Cuda card or AMD card and needless to say, it quickly became their favorite upgrade as well.

If you plan to buy a 4K display as well , I would also recommend the LG 4K (31MU97) IPS display as a companion to the UltraWide display as the IPS colors are fairly close to each other. Always nice to have displays that match.

I also just got back from CES 2015 and there are a few other 21:9 displays but none have Thunderbolt 2 which again is not a must but nice to have the option.

A note for RED Dragon 6K users – This 3440×1440 display also provides an excellent playback display when used with RedCine or Premiere Pro CC 2014. Just set playback to ½ resolution and let the GPU take over and you’ll see what I mean. The IPS colors are truly amazing for this price point. This display should hold us for a while until true 6K display’s or 8K displays come within reach and I’m sure LG will have something for us.

What’s missing? Honestly, the only thing I would add to this display is an Ethernet port.  For now, the problem is easily solved with a $20.00 USB 3.0 to GigE adapter that you can hang off the back of the display. I use the Cable Matters one as it’s OSX 10.10 and Win 8.1 compatible – here’s the Amazon link.

That’s my 2 cents……


four_half-stars_0 copy

I can easily give this display 4.8 out of 5 stars  – hats off to the LG engineers…


9:51 PM Permalink
September 10, 2013

What’s New in the Oct 2013 Pro Video CC releases

Oct releases

What’s New this month – A lot !!

Premiere Pro 7.1
Speed Grade 7.1
After Effects 12.1
Adobe Media Encoder 7.1
Prelude 2.1


So many things to cover on the latest CC updates for the Pro Video apps. As you’ll see, the Pro Video team has been extremely busy to deliver user requests , bugs, and looking towards the future of our video apps. This cycle had “All Hands on Deck” or should I say, all Adobe Pro Video engineers had “All Hands on Keyboards” coding throughout the day and night.

A few of my favorite things to call out in these releases.

Premiere Pro 7.1

1. Support for Cinema DNG format for cameras like the BlackMagic Cinema Camera

2. Editable Sequence Settings

3. Rippling Sequence Markers
4. Sequence Hover Scrubbing in Media Browser and Project Bin
5. Better 4K playback performance for cameras like the Canon 1Dc and new support for the RED Dragon 6K & Phantom.
6. Improved Workflow between Premiere and SpeedGrade NEW DirectLink !!

After Effects 12.1
1. New Mask Tool – Mask Tracker
2. Anywhere support – Early Access
3. Additional GPU support – same as Premiere Pro CC (any card with 1GB can be turned on)

Adobe Media Encoder 7.1

1. Water Marking on output
2. GPU Support

I know I already said this for the 7.01 releases back in July, but again, I’ve never seen anything like this set of new updates. They are really more like new releases than updates. I’ve already seen what’s coming next and I can assure you, it’s a crowd pleaser and clearly defines the difference between where we were and where we are going. It’s all about innovation lead by user requests.

I hope our users clearly see a pattern here. Our engineering teams now have the freedom to get new features and enhancements in front of the people that need them NOW. As I said in the last blog entry, if you want to be more proactive in feedback requests, you can use the Product Improvement Program feature built in all of our applications under the Help Menu. We really do read these comments daily.

Here’s a New Video featuring working in full 4K resolution on a 4K display

The video features some new gear from HP that I’ve been testing in the lab for the past few months.

The first is the New fully redesigned ZBook workstation Laptop with THUNDERBOLT (finally)  –

click any of the images to watch video


and the MOST IMPORTANT thing (& the one I’m most excited about) , a new Thunderbolt option for the HP Z820 & Z620.

Thunderbolt Z820


This means that you can now have a Workstation with Dual Intel E5 2620 processors, 512GB RAM, Internal 4 drive raid, Blueray drive, choice of video card like the NVIDIA GeForce 690/Titan/ Quadro K6000 w/12GB RAM, Atto Raid card, RED Rocket, and THUNDERBOLT for sharing TB devices and drives. Wow !! – and all from a single desktop tower and one AC Power plug !!

The new workflow where using a Laptop that can edit 4K rough cuts on set via Thunderbolt storage like the Promise Pegasus series or the new G-Tech EV series and sharing that drive on your Thunderbolt equipped Z820 makes the workflow more like older firewire 1394 based workflows. Hint: You can format these drives to work on both Mac & Windows giving you even more flexibility with our apps (ExFAT). See further down the article on how I do this …

Special thanks to our friend Devin Graham (aka Devin Supertramp) for use of his 4K footage.
Click on his YouTube header to see some of his work Yes I’m hooked and I admit, I’m a subscriber …….

Premiere 7.1 Feature list

1. Direct Link to SpeedGrade: Open Premiere Pro projects within SpeedGrade for color grading work, and send them back to Premiere Pro with color corrections and looks applied for continued editing.

2. Streamlined Editing: Improving and streamlining everyday editing tasks and workflows to enable editors to work faster. New monitor overlay allows editors to see key data such as time code and camera angle overlayed onto media during playback.

3. Expanded Native 4K, Ultra HD and RAW Formats: New native file format support for Cinema DNG, Sony RAW, Phantom Cine, Canon RAW, improved MJPG from Canon 1DC, Sony XAVC Long GOP, Panasonic AVC Ultra (Long GOP), 64 bit ProRes decoding (Mac OS X 10.8 or higher only), and support for exporting XAVC up to 4K and AVCi200. Cinema DNG can be debayered on a supported GPU for better performance. Support for the RED Dragon at 6K .

4. Improved Multicam Workflows: Further improved multicam workflows now allow for viewing of composite output changes in multicam editing view. Editors can easily turn angles on and off or rearrange them. The ability to track names or clip names was also added.

5. Improved Closed Captioning: New support for captions in MXF OP1A and Quicktime media and encoding to CEA-708 captioning standards. File name extensions with dfxp files can also now be imported.

6. Improved Link and Locate: Sequence settings are now editable enabling the ability to use Link & Locate to connect back to full resolution [online] media, having initially cut with proxy versions.
Audio Monitoring : Ability to down-mix multi-channel audio to stereo for monitoring purposes.

7. Improved High-Fidelity Interchange: New XML export to Autodesk Smoke workflows.

AfterEffects 12.1 Feature list

1. Mask Tracker: Quickly create a mask and apply an effect such as color correction that travels frame by frame throughout your composite. Mask Tracker eliminates the need to adjust the mask and effect throughout time and avoids repetitive rotoscoping tasks.

2. Upscale Effect: Preserve detail and sharpness while up scaling images up to HD or digital cinema size. The new up-scaling tool retains edge detail and reduces noise and artifacts.

3. Property Links: Copy and paste an effect, mask, or other properties from one layer to another so that the pasted instance has a live link to the original. Changes that you make to the original properties are reflected in the linked instances.

4. Faster Warp Stabilizer and 3D Camera Tracker: Analyze your footage up to 80% faster with new speed enhancements added to both the Warp Stabilizer VFX and the 3D Camera Tracker.

5. GPU optimizations: Work faster with GPU optimizations. Enhancements in the ray-traced 3D renderer enable you to quickly work with extruded text and shapes. Inclusion of the NVIDIA OptiX 3.0 library improves performance and stability for the ray-traced 3D renderer.

6. Media Browser : The Media Browser allows you to easily browse, open, and composite virtually any video format. After Effects links to traditional movie, image and audio files as well as industry standard file based media, such as P2 cards, XDCAM, RED, and ARRIRAW.

7. Adobe Anywhere Integration (Early Access): Collaborate on composites and animations with team members. Use the new Media Browser in After Effects to browse and open shared productions on the Anywhere server. Easily share compositions and media, and manage historical versions of shared work.

8. Improved Snapping: Layer and mask snapping behavior makes aligning both 2D and 3D objects simple, without needing to calculate and type in values. Now snap items to individual layers in a precomposition and to lines defined by a layer’s boundaries, even outside of the layer itself, making alignment even easier.

9. HiDPI Content Viewers: When using Apple Retina displays, see every pixel in your high-definition compositions, footage, and layers in sharp, HiDPI content viewers.

SpeedGrade 7.1 Feature list

1. Direct Link: Open native Premiere Pro projects within SpeedGrade for color grading work, and send them back to Premiere Pro with color corrections and looks applied for continued editing.

2. Multiple Masks: Create and save multiple masks within a single .look file.

3. SpeedLooks: Apply camera patches to balance the colors spaces of different types of cameras and combine these with sophisticated creative looks – the result is precision and beauty.

4. Expanded File Format Support: All of the native file formats supported by Premiere Pro can now be brought into SpeedGrade for grading as part of any Premiere Pro project.

5. Enhanced Timeline: Premiere Pro sequences appear on their own Timeline in SpeedGrade, providing all the tools you need for color work and displaying key information from the editorial pipeline .

6. Linked Masks: Layer and link masks for full control over complex Looks. Easily copy and modify Looks for new shots or on new projects.

Adobe Media Encoder 7.1 Feature list

1. Automated Image Processing: Create customized output of media, including watermarks and TimeCode overlays, as well as image processing, such as LUTs when rendering out new content.

2. Sync Settings: Easily sync application preferences between multiple computers via Creative Cloud

3. GPU Rendering: GPU rendering give users the same processing as Premiere Pro and offers significant performance improvements on any process that can take advantage of GPU acceleration.

Prelude 2.1 Feature List

1. Prelude Live Logger: Begin the production and logging process sooner by logging on your iPad while you shoot footage on your professional camera anywhere. Import and combine your metadata later with others and add it to your file-based footage through Prelude CC to have it flow throughout the production process.

2. Export Clips, Subclips, and Rough Cuts: In addition to exporting rough cuts, you can export clips and subclips you create in Prelude CC through Adobe Media Encoder.

3. Export Marker List: Quickly and easily review what content is in your media with a printed out list of markers. Easily run your team through the action by looking at line items which describe the metadata in your media throughout.

4. Expanded XMP Support: With added support of new media, continue to ingest and log your preferred footage in its native file, enabling greater control over the creative process.

5. Still Image Support: Bring still images into any rough cut that you create in Prelude CC.

Adobe Anywhere for Video:

1. Early access to After Effects integration : Collaborate on composites and animations with team members with Adobe Anywhere for video. For Anywhere users who have not invested in a MAM, use the new Media Browser in After Effects to browse, open, and edit compositions stored on the Anywhere server. Compositions are easily monitored to see the latest iterations and resolve version conflicts. Compositions are rendered locally and can be saved back onto the Anywhere server.

2. Growing File Support: Save time by allowing post-production and editing work to begin even as production continues with growing file support. The ability to work with files that are growing in duration, even as they are ingested is important, especially in fast turnaround workflows such as sports and live-to-broadcast shows. Adobe Anywhere supports the same formats for growing files as Adobe Premiere Pro.

3. iPad App: View productions and play back sequences on the Anywhere server from the field or a remote location using the Adobe Anywhere iPad App. (*Available via the App Store.)

How to setup to your drives to be compatible on Mac & Windows via ExFAT.

In most cases, you can simply format your single USB 3.0 drive on the Mac as ExFAT and it will just work on both Win7/8 and OSX 10.7 and higher. It will support both Read and write. I’ve been doing this for years and had great luck. WIth Thunderbolt, ExFAT formatting Raids to be cross platform compatible takes a little more effort.
For starters, use a Windows 7 or 8 machine to set up as the key seems to be in how the first partition is set.
1. Open a command prompt by typing cmd into the Start/search box and pressing Enter
this should open up a familiar DOS like command window.
2. Type format g: /FS:exFAT and then Enter to begin formatting the G drive as exFAT
You can use what ever letter you want . I use G or P for G-tech or Promise drives.
3. Press Enter.
4. Copy a few files onto the drive to insure it works for Read & Write.
5. Unmount the Raid/drive and power it down.
6. Power up the Raid/drive and connect to your Mac running 10.7 or 10.8. When it mounts, copy a few files to it and make sure it works.

6:46 PM Permalink
May 15, 2013

New BlueFX TitlerPro 2.0 for Premiere Pro and AfterEffects CC

In this video you’ll get a great walk through of the New Blue FX Titler Pro 2.0. This version now features support for After Effects as well as Premiere Pro. It also supports both CS6 and CC versions of those applications. Special thanks to Travis White of New Blue FX.

1:02 PM Permalink
May 14, 2013

Premiere Pro & AE Native Stereoscopic 3D Editing with V3’s QuickS3D

I’ve been working with Vision 3 for about year and half on this inexpensive plug-in to support our native tapeless formats in a Stereoscopic 3D workflow. This video will give you a general idea of how the plug-in works and some general guidance on setup.You can more info on the plug-in here:

12:48 PM Permalink
April 24, 2013

NAB 2013: What’s new in Premiere Pro

Here’s a video my buddy Ryan Brown (Indie Film Maker – 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
December 21, 2012

BlueFish 444 I/O Setup for Premiere Pro CS6

Here’s a quick look at setting up your BlueFish 444 hardware with Premiere Pro CS6. It’s a quick guide to their driver setup and a great walkthru of their Controls and Software

Special Thanks to Tom Lithgow with BlueFish for taking the time to create the setup walkthrough.

4:20 PM Permalink
December 16, 2012

Shedding some light about Performance using the HP Z820 and NVIDIA Maximus

Here’s another quick video we did showing the latest HP Z820 dual processor system paired with 4 drive internal raid , NVIDIA Quadro 5000, and a Tesla 2075. The video tries to give you an idea of how the system performs with and without the Tesla board installed. I get lots of questions on how increase performance and thought this might shed some light.

3:04 PM Permalink