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/
Posts in Category "Workflow"
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:
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.
Click below to play the video.
Recently I’ve been getting a lot of performance questions from Mac users about using Premiere Pro editing systems with ATI/AMD graphics cards. No question this has been “sparked” by Apple’s recent series of MacBook Pro Laptops featuring Thunderbolt and a 1GB AMD Radeon 6750 graphics card. Below is a link (Click picture) to show the Mercury Playback Engine running on the new Apple MacBook Pro 17” Thunderbolt laptop in 64 bit CPU mode or what’s also known as Mercury Software mode. In software mode, Premiere Pro will use its 64 bit playback engine along with OpenGL to give you a great playback & rendering experience. Apple is now finally shipping a fast processor with 8GB of system RAM and 1GB of GPU RAM on a laptop.
As you’ll see in the 9 minute video, for many workflows with 2 or 3 layers of video , Mercury Software playback will fit their needs perfectly. With newer Intel processers and fast hard drives, Mercury software playback can render Titles, transitions, PSDs, and effects like Ultra Keying, and Color correction (Fast Color Corrector) in real-time. As you’ll see in the video, playback is very smooth.
Remember that the Red Line above the Sequence means that you are using the CPU to process data. It does not mean you can’t play in real-time. Frankly, we need more colors to show what’s actually happening during playback of the Sequence – I’ve already added it to the Premiere Pro wish list.
What about CUDA? I thought Premiere Pro CS5 required an approved nvidia card for Real-time.
Remember that Mercury Back has 2 modes:
1. 64 bit Software playback mode. ie CPU + OpenGL mode
2. Hardware assist playback mode. ie CPU + GPU w/CUDA
When you have an approved nvidia CUDA card, you get powerful parallel processing (CPU + GPU) which allows you to edit and Export at the same time with incredible speed. The CUDA card can take on effects and free up the processor to handle other non CUDA tasks.No question, if you have the choice – this is the most powerful option.
With newer processors like Intel’s Sandy Bridge processor (8 Threads), the CPU can now take on a lot more tasks. We can now even use laptops to playback native Red files in ¼ mode instead of 1/8 mode. This was previously only possible on a desktop system. I was completely caught off guard – this was really impressive to see Intel giving us this type of performance in a laptop. Native DSLR (Canon 5D) and RED editors will totally dig this.
Bottom line, if you need to edit on a system that has a fast processor and an AMD/ATI, or other non-supported CUDA cards, give it try. Chances are you’ll be pleasantly surprised.We have a ton of surprises in in the works.
For those of you out there looking to get started with Stereoscopic (S3D) workflows for Premiere Pro CS5, I’ve put together a 60-minute video giving you great way to get started with S3D. This covers most of the basics from building your rig with 2 matching cameras to different 3D displays including using any commercial 3D TV from your local electronics store.
We’ve partnered with Cineform and their new 64 bit plug-in for CS5. As you’ll see, they offer 2 plug-ins : Neo3D for 2,995.00 US and NeoHD for 499.00 US. The main difference is the ability to key frame various controls as well as separate adjustments for Left and Right eye. I find that most people can make do with the 499.00 version.
This video also covers the various ways to view your S3D. The best setup for Editing S3D on your main computer display is by using the NVIDIA 3D Vision glasses matched with a decent NVIDIA card (works excellent with the Mercury certified cards) and a 120Herts display like the Alienware 2310. The video will show you lots of choices for viewing. Commercial 3D TV sets (I’ve tested the Panasonic Viera and the Samsung 3D LED TVs) also work great but only as a 2nd display for output– not your primary editing display. Of course you can still use Anaglyph glasses as well (Red/Blue & more)
I’ve posted the videos on YouTube in HD in 7 parts (for iPad viewers) as well as AdobeTV for Flash viewers.
YouTube HD links:
Part 1: The Gear
Part 2: The Glasses & Installation
Part 3: Importing Footage & Using the Cineform Plug-In
Part 4: Editing 3D footage in Adobe Premiere Pro CS5
Part 5: Editing 3D footage in Adobe Premiere Pro CS5
Part 6: Editing 3D footage in Adobe Premiere Pro CS5
Part 7: Editing 3D footage on a Mac (Cineform beta)
I’ll be working on several more S3D workflow video featuring output in Encore CS5 and other tips and tricks.
For those wanting to get ahead start on Exporting to Encore. The key thing to remember is to set your Cineform output to Side By Side mode before you export to Media Encoder (File>Export>Media Format H264 Preset H264 Bluray High Quality).
You can add chapter markers in Premiere or Encore. There is NO S3D menu support in CS5. You can use a menu but it will play in 2D not 3D. I normally put a title at the beginning of my timeline telling the viewer to press the 3D button on the remote.
Here’s link to the trial version of Cineform Neo to help you get started:
Quick Setup tips for NVIDIA 3D Vision users
Follow these quick 7 steps to get your NVIDIA 3D Vision system up and running with CS5.
Remember that you are installing 3D Vision drivers for S3D editing, not 3D gaming. Currently, the 3D Vision setup instructions are really geared towards the gaming market. Installing the full 3D vision driver set just adds problems in getting these drivers to load and work properly for S3D Editing. You only need the Graphics card driver (make sure to pick Quadro if you are a Quadro user) and the correct matching 3D Vision USB driver (again, if you are a Quardo user, pick the 3D Vision for Quadro driver)
I’ve put together a few screen shots to help your setup.
1. Download the correct Quadro or GeForce Driver. Remember to choose 64-bit
2. Download the matching 3D Vision driver for your card (Quadro or Geforce) and 64-bit
3. After you reboot, plug in your IR Emitter Box and both cables (DIN & USB). Depending on you graphics card, you should have a round DIN connector on your card (Quadro cards typically have these)
4.Change your 2 main settings in the NVIDIA control Panel (120 Hz) and Manage 3D settings.
Remember that you need a 3D monitor that offers 120 Hz refresh. Currently the Alienware 2310 is leading the pack in terms of quality (full 1920×1080). NVIDIA has a list of compatible monitors on their website. These monitors typically run between 350.00 to 475.00
5. Under 3D Settings (Top Task) , choose Manage 3D settings. DO NOT go to Stereoscopic 3D settings. Look closely at the screen grabs.
Change Stereo-Display mode to : On-Board Din Connector(With IR Emitter)
Change Stereo Enable to: On
FIRST LIGHT Settings
6. Launch First Light and import a 3D file ( you will have needed to convert your Left and Right file to Cineform format and have Muxed them. There are demo files on Cineforms website if you don’t have any 3D files yet)
Goto the View menu and select Open GL Player Player options. Note, you have different setups if you have more than one display.
Suggestion: if you are new to this: Try to keep things simple, just connect the 3D 120 Hz display to your system and get it working first, then add to your 2nd monitor.
For Single monitor setups. Set your Internal Window to NVIDIA PageFlip 3D and then set your Primary Monitor Fullscreen to NVIDIA PageFlip (Press Alt+Enter when playing back video for full screen preview in First Light) Your Secondary monitor make no difference as it’s not connected.
For Dual monitor setups, with your 3D 120 Hz Display set as your 2nd display. Set your Internal Window to “3D Playback Disabled” and Check the “Use OpenGL for 2D Playback”. Set your Primary Monitor Fullscreen to Enable Standard 2D playback.The Secondary Monitor Fullscreen should be set to “NVIDIA PageFlip 3D”
You should see your screens “blank out” for a few seconds and your IR Emitter should change from a Dim Green light to a very bright Green Light. Make sure to Press the Power Button on the Top Left side of your NVIDIA 3D Vision Glasses to view content in 3D.
7. In Premiere Pro, select your Sequence and then goto to the Sequence Settings Menu and select Playback Settings….
For Dual Monitor settings, I usually put my 3D Display as my External Monitor (Full Screen) and set it to Full Screen 3D – NVIDIA PageFlip and I set my Internal display to Standard 2D OpenGL.
Make sure to check the Fast 3D option to increase playback performance. You can also turn this off if you see odd artifacts during playback which can be caused by your graphics driver.
Tip: if your system is running solid – Do not change your graphics driver. Newer graphics drivers are not always better….
For Single Monitor settings . Again, your External setting makes no difference.
We’ve decided to give you guys a Sneak Peek of our new Mercury Playback Engine, which will be featured in a future release of Premiere Pro. This new “Engine” is a total gamer changer for NLE users allowing an “off the shelf” nvidia graphics card to handle the heavy requirements of today’s HD workflows.
Click HERE to start the Video
The Adobe Mercury technology also allows users to get more power from their CPUs. By using GPU and CPU in parallel, you get unbelievable performance running in a clean 64 bit operating system (remember, all future versions of Premiere are 64 bit only OSX 10.6 or Win7 64). By running in parallel, the CPU can take over tasks where the GPU isn’t used.
What can expect to see?
In the video you’ll see incredible AVCHD playback and scrubbing, working with DSLR cameras like the Canon 5D & 7D, 9 Layers of P2, Native Red 4K Multicam editing and RED keying and lastly, you see accelerated rendering for exports.
What does it take to make it work?
Currently, all you need is a Windows or OSX system that supports any of these cards: Geforce GTX285, nVidia Quadro CX,FX4800, or FX5800. We plan to add support for newer nVidia cards as they get released. You can now design a system based on your editing needs – more CPU Cores or a more powerful GPU card like the FX5800. Because we have ability to run these processes together the performance is truly remarkable.
A Game Changer for the future of NLEs ……
Premiere Pro has truly started in a new direction with the Adobe Mercury Engine. More professionals are starting to turn to our native workflows in Premiere Pro. Check our some of the new postings on Adobe.com. Here’s a quote from Jon Landau “ Avatar” will change the way we experience movies forever – Adobe Software is changing the way movies are made.”
Here’s a link to the James Cameron movie Avatar and peek at their workflow.
Just click on the : “See How it was made” link. http://www.adobe.com/products/creativesuite/production/
New Production Premium CS4 Updates !
What’s new in the Premiere Pro 4.1 Update
The 4.1 updater for Premiere Pro and Adobe Media Encoder are fairly critical updates for the CS4 user. If you are using the CS4 Production Premium Suite, After Effects also has a new updater, 9.02. Below are some of the major changes in these updates. I’ve also listed some of the various bug fixes for Premiere Pro and After Effects. Take the time to scan the list. I’ve also created a “What’s new in Premiere 4.1” video to get you up to speed. For the RED camera users out there, both Premiere Pro 4.1 and After Effects have new workflows for RED R3D files. I do a quick run through of the new features on the new RED workflow in the 4.1 video but there is a completely new Adobe RED video, which walks you through the new workflow in detail. I should also note that Adobe Media Encoder has been updated to match the changes in Premiere Pro 4.1 and After Effects 9.02. One of the most noticeable changes in 4.1 update for Adobe Media Encoder (AME) is the rendering speed. In many cases, you’ll see quite a speed bump.
UPDATED REDCODE 1.7 June 2009
Premiere Pro C4.1 &
After Effects CS4 9.02
workflow using the
RED R3D plug-in
After several months of hard work, the REDCODE 1.7 Red Plug-in is finally available and you can find it here: http://www.red.com/support . Make sure you update Premiere Pro and AfterEffects and Adobe Media Encoder. The workflow video will show you how to apply the updates.
As you’ll see in the New Tech workflow video and workflow guide, this plug-in now allows you to use Premiere Pro CS4.1 and After Effects CS4 9.02 to import Native RED R3D files as easily as any of our other native tapeless formats.
I’d like to take the time to say thanks to the beta testers that spent countless hours figuring out the various 2K and 4K workflows. After working with the beta testers and discussing these workflows we have updaed the workflow video that steps you through the basic workflow. Included with the plug-in is the RED Workflow Guide which has been put together as a reference guide.
New Final Cut Pro import for Windows users (macs too!)
The new 4.01 updater for Premiere Pro now allows you import FCP projects (also supports OMF & enhanced AAF export). This is perfect for Adobe video workflows needing to work with FCP projects. One example would be a 3D Studio Max, Maya, or Maxon Cinema 4D (my favorite) user needing to work with FCP users and their video timelines. Instead of exporting a single movie, you can now export an FCP XML file and import directly into Premiere Pro CS4 (4.01) From there you can goto Encore CS4 for Bluray output or import the Premiere Pro CS4 sequence directly into After Effects CS4.
I had the opportunity to work with nVidia on their new powerhouse of a video card, the NEW Quadro CX board. Over the past several months I also worked with one of the companies (ETI) who is the first to unleash the GPU power of nvidia’s CUDA for Adobe software. ETI is the company behind the new GPU based H264 exporter. This new exporter gives you upto 5x performance for h264 exports. This is perfect for people creating blu-ray discs. The performance gain depends on your system config. For example, if you have an 8 core machine, then your looking at about a 2x gain. I also highly recommend that you use Vista64 and 8GB Ram for Windows based HD workflows. (the CX card is currently windows only)