Posts in Category "Workflow"

September 7, 2015

Top Technology Pick: High Point Technologies



One of the challenges I face quite often in my ProVideo testing lab is the ever changing hardware that arrives on a regular basis. While it sounds awesome (let’s be honest – it is…) , it’s also a challenge  – as we all know in the real world we need to keep those older high dollar investments up and running as long as we can. I get these types of questions on how to keeping older tech updated  all the time.

One clear example of this $$$ investment is storage. As man you of you know, I have always been a fan of the Gtech ES Pro line of SAS drives. They are blazingly fast, very reliable, and in heavy use by video professionals world wide. I’ve had my pair of ES Pros with 8TB of storage running pretty much everyday for years without a hiccup. For many of those years it was the only real way to get the speeds I needed for true 4K editing on a Windows or mac based computer (Remember that PC Windows Dual Xeon Workstations did not really get Thunderbolt2 until mid-2014 and SAS was and still is a solid performer) .

Once companies started to offer Thunderbolt 2 add-on option cards for Dual Intel E5 class Xeon processor workstations like HP’s Z 820/840, Dell Precision 7910, and Lenovo’s P900, things got a little tricky in terms of keeping those SAS drives going at full speed while taking advantage of new technologies like Thunderbolt2. For the past 12 months or so, I have been testing some add-on gear to help solve this problem.

Why so long before recommending it?

I wanted to insure its reliability and overall performance for the long haul. The desktop I’ve been using in my most recent stress tests over the past 6 months as been the Dual Xeon equip’d “tricked out” ThinkStation P900 with a M.2 Boot SSD module, 128GB RAM, NVIDIA GeForce TitanX,  and Thunderbolt2 option. With the proper storage speeds as I’ll discuss here,  it edits 4K & 6K with ease.

Lenovo TB2 with RockStor

The best solution I could find to solve the challenge from a price/performance standpoint was High Point Technologies RocketStor 6328 Raid adapter (priced at about $675.00) . With its Dual SAS Input connection and Thunderbolt2 I/O it gave me the speed I needed to keep the raided pair of Gtech ES Pro units up and running at full speed (about 650-750 MB/s) . Installation was a breeze. Just  load the Windows 7/8/10 Thunderbolt2 RocketStor driver and connect your SAS cables to the RocketStor 6328 Thunderbolt2 storage adapter and watch your drives mount. *note* HighPoint recommends that you back up your SAS drives before you proceed with adding the RocketStor 6328  adapter . I had no issue as my data was intact after the upgrade and still is as of this day. For the record, OS X users can also take full advantage of the RocketStor 6328.


One reason that my data was still intact and no need to format  might be that the original G-Tech SAS card that came with my ES Pro drives was in fact made my HighPoint Tech (If you have one just look at the SAS card) BUT AGAIN, be careful with your data and make sure you take the proper steps to insure that you are covered if you need to reformat. If you don’t need the data on the drives or can back them up , then I would HIGHLY recommend formatting the drives to have a solid fresh start on the new raided drive set. I will admit, that the HighPoint Web UI takes a little  getting used to for Raid management but has everything you’d expect to see in a utility like this. Setting up the unit for RAID 0,1,5,6,10,50, or JBOD was straight forward.


For people just wanting to add Windows 10 compatibility and wanting to stay with a SAS card (many older SAS card drivers won’t work reliably on Windows 10), you can now just replace your older SAS card with the new RocketRaid 4522 (priced at about $599.00) which still gives you a full 8 channel PCIe 2.0 connection to 8 SAS/SATA drives with 6Gb/s hardware RAID. With 512MB DDR3 Cache and Thunderbolt aware (for TB chassis use) it’s my top pick for a new SAS card. (Also supports OS X) The RAID modes are basically what you would expect from any high-end card – RAID 0,1,5,6,10,50, & JBOD. Speeds are great…. (750MB/s in my tests on SAS equip’d ES Pro drives – 2 pair of 4 drives , 8 total)


I also wanted to point out a few other cool technologies from High Point Tech that I use on a regular basis. The RocketStor 5212 dual bay Thunderbolt powered docking station for 3.5” & 2.5” HD/SSD’s is something I use nearly every day in prepping drives for various machines (6Gb/s channel for both drive bays) . Compatible with any Mac or PC with Thunderbolt

Highpoint dual bay


Recently, I received a RocketStor 6414AS drive enclosure (mini SAS connection) paired with a RocketRaid 4522 card mentioned above as well as the new RocketStor 6314A Thunderbolt2 Raid enclosure and both units have been up and running non stop for about 45 days or so and no reported issues. In short, these enclosures allow you add your own drives (I usually get matching drives from AMAZON or reuse  older matching drives) and build out a RAID system based on your specific storage and speed needs. Both units support, SAS, SATA, and SSD drives. For 4K editing I highly recommend a total of 8 drives on a hardware RAID card or Thunderbolt 2. This will insure that longer projects load quickly and give you the playback performance needed. You can pair two 4 bay units or Highpoint also offers a full 8 bay rack unit like the Rockstor 6424TS or even a 16 bay unit like the RocketStor 6424TS



If you are new to High Point Technologies you can find out more here :


5 Stars copy

DAV TechTable Top Pick

5 out of 5 stars on the Rockstor 6328 


8:21 PM Permalink
April 8, 2015

What’s new for Premiere Pro CC at NAB 2015

As you’ll see, Adobe ProVideo engineering has been busy. The features in this release are simply amazing and totally fun. I should take the time to thank many of you that submitted feature requests, bugs, and general comments on what’s working and what can we can improve. User feedback that end up as user features is truly what makes Adobe Premiere Pro different than other editors and Creative Cloud just gets you those user suggested features delivered faster than ever.

When you launch the new app for the first time, you’ll see a new Welcome Screen as well as an updated cleaner look to the user interface.

Copy and paste this Link  to view the video:

lumetri Color

1. New Color Workspace: now includes the Lumetri Color panel
As many of you know, Lumetri is the color engine that powers Adobe SpeedGrade and it’s now integrated into Adobe Premiere Pro CC in a new more “creative way”. The idea is to adjust color as you go during the editing process. I like to call this “color editing” . While the new Color Panel is very powerful and will satisfy most users need for complex color work , we wanted to be careful not to confuse Color Editing with Color Grading with specific grading tools like Adobe Speedgrade and others.

selection follows playhead

2. Task Oriented Workspaces
You can now toggle between new workspaces that are optimized for the task you are doing. You can manage toolsets and options. One example is the new “Selection Follows Playhead”. This is turned on by default in the new Color Workspace as it will automatically select any clip that the playhead touches.


3. New support for Premiere Clip work flows
Now you can shoot and rough cut on your smart phone/tablet, sync with Creative cloud, and if needed finish the work on your desktop with the new tools in Premiere Pro CC.


4. Morph Cut
This is a perfect tool for cutting together interviews where you have a locked down shot,  still background, and when your subject looses their train of thought and goes silent or they talk on you now have a new tool that allows you to cut down the interview tas needed. The problem has always been how to cut and transition between segments without a huge “jump cut”. This new tool will Morph the 2 segments together. You just have to try it to understand it… It’s mind blowing.. You will need to spend time with it to understand when it will work and when it won’t . Audio can be an issue as you can’t really Morph audio the same was as video.Take a look at the video link to get a better idea.

5. CC Libraries & Project Candy
Now you can share Looks and Luts and other assets from the new Library Panel which sync with Creative Cloud. You can also share assets with other team members. Project Candy is a new iOS app for creating .Look files from your smart phone/tablet. The captured Looks sync to your Library folder and appear instantly in Premiere Pro CC and AfterEffects CC.Once synced , you can apply those .Looks to any clip.

time tuner

6. Time Tuner
This is a new tool for the Export workflow where duration of the exported movie is critical. We do this by adjusting the length of your video by automatically adding or removing frames at scene changes, in sections with still images, or low visual activity, or during quiet audio passages. No more manually “micro editing” to reduce time. This is a perfect solution for broadcasters needing to make room for ad insertion. This is another new tool that you will need to experiment with as adjusting the video to anything close to 10% tend to be noticeable. I find 6-8% is the “sweet spot”.

7. Mercury Transmit Performance Improvements 3rd party I/O
Significant performance improvements to Mercury Transmit mean users of third-party I/O hardware for monitoring will experience increased responsiveness and improved playback reliability. We have worked closely with AJA, Matrox, BlueFish , and BlackMagic on these performance gains.
burn in captions
8. Closed Caption (CC) improvement
One common request I got all the time was to support “Burn-In” for closed caption. While Premiere Pro CC is well known for its simple Closed Caption workflow, this opens up the workflow for other uses . This also makes it easy to review CC on non-CC enabled hardware.

9. Expanded format support
Premiere Pro leads the industry in native format support, now including  Canon XF-AVC, Panasonic 4K_HS, JPEG2000



10. Support for Windows touch devices like the MS SurfacePro 3 and the new Dell m3800.
This is our first steps towards a more touch-friendly editing experience, allowing editors with hybrid devices to easily do things like move clips in the timeline, scrub the playhead, and manipulate color parameters directly by touching the screen. The work is just beginning and we will want to hear from our users as we go through the design process. I find myself using touch a lot more than I thought I would. I think it’s due more to the daily use of our smartphones/tablets as you just instinctively touch the screen. I find this more useful when I’m reviewing a timeline with an other editor rather than actual editing. I should point out that we are also being careful not take away any part of the editing experience that are 100% keyboard driven or clutter up the UI. Let us know what you think as comments are always welcome.
11. Audio workflow improvements
You’ll see that we added a faster voiceover record setup and much easier audio channel mapping, improved multi-channel export, and a more consistent Audio hardware setup. We’ve also done a fair amount of work with AAF for DAWs (Digital Audio Workstations ) for tools like Adobe Audition and ProTools.
R3D source
12. New Source Settings workflow for RAW media
Now you can access the RAW source settings in the MasterClip Effect section of the effects panel allowing you reset any parameter quickly and easily.
hot keys
13. Hot Text now uses Up/Down Arrow
OK, this one is HUGE for me. In the Effects Panel or new Color Panel you can now click on the value and adjust it up/down using the arrow keys. You can hold down the shift key to adjust by 10 or Cntrl/Cmd key to adjust by 1/10.

9:01 PM Permalink
September 10, 2014

What’s New in the Fall release of Premiere Pro CC 2014.1

2 New videos posted:

Premiere Pro CC 2014.1 and New Features:

A Deeper Look at the GoPro CineForm Codec and Project Manager

El Nuevo Adobe Premiere Pro CC y el Codec GoPro Cineform

INtro screenA New Look:

New look 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 .

Search Bins:

search bins 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:

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:

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.

Multi-Project Workflows:

Multiple Project 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 CodecGoPro_CineForm

[UPDATED 1/2015)

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:

1. Low
2. Medium
3. High
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.

GoPro Export 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 : 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. Quicktime 7OSX users can still get Quicktime 7 here: 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 ) .   VLC   Current Error on VLC (as of today) when trying to playback a GoPro CineForm file VLC error New HiDPI support for Windows 8.1 : windows-8 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: Source Timeline view pancake 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: RAW 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: bezeir 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 master clip effect Master Clips 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: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:


2:29 AM 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:  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 ( ) 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.


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.


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.


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.


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:

Premiere Pro 7.01 Update Windows:

AME 7.01 Update Mac:

AME 7.01 Update Win:


All downloads:


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



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 –


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

11:46 AM Permalink
May 15, 2013

Using Encore CS6 with PremierePro CC

En CS6 & PR cc splash
Installing Encore CS6 for use with Premiere Pro CC

1. Install Premiere Pro CS6 from Creative Cloud (requires cloud account or serial number to use Encore CS6 – no trial mode due to licensing fees for DVD & Bluray)

1. Install from Creative Cloud

2. Mac Users: From the Adobe Premiere Pro folder , Unistall Adobe Premiere Pro CS6.

Win Users: Use the Control Panel >Programs >Programs and Features

2. Unistalling Premiere

3. Uncheck Encore to keep it installed (just Premiere Pro CS6 will be uninstalled)

3. Uncheck Encore to keep it

5. Apply Update via help Menu

5. Update via Help menu

6. Apply Premiere Pro Family Update (this will update Encore)

6. Apply Update

7. Add Encore Functional Content (extra templates & menus) using this link:

7. Adding Encore Functional Content

Here’s a workflow video for using Encore CS6 & Premiere Pro CC

3:17 PM 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 – 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.

1:27 PM Permalink