November 8, 2014

Should you upgrade your old Mac Pro ?



One common question I get at least once a week, from my Mac Pro customers is whether or not to upgrade their current Mac Pro or just bite the bullet and buy a New Mac Pro or a High-end iMac to run the latest versions of our Adobe Creative Cloud video/audio/imaging apps.inside-old-mac-pro

As in most cases, it really depends on what current gear you need to keep connected to your Mac Pro to insure your trusted workflow continues. I/O boards like Atto Fiber & SAS cards, AJA/BMD/Bluefish I/O cards and other PCI cards might be a compelling reason to upgrade your current Mac Pro. I’ve also seen custom Mac Pro racks and editing bays where the editing environment is actually created around the Mac Pro – ie, custom metal or wood work to incase the Mac Pro.


To be up front , it’s not exactly cheap to upgrade your Mac Pro to current high performance specs but it’s also not out of reach. So , let me start with the upgrade price which will typically range from about $1,500.00 – $1,800.00 depending on whether you decide add more RAM.

Keep mind that a high-end iMac with all those awesome options will run you over $3,500 and the New Mac Pro can easily top that (ie, I bought the 12 core D700 unit) . No question that both of these new Apple Desktops offer you a new warranty and of course Thunderbolt 2 (*note* you can not add Thunderbolt to an old Mac Pro as the Motherboard and Intel Chipset does not support it) but it also requires a change in most workflows. BUT – In some cases, it might be time to consider a change in workflow, as new Thunderbolt 2 raids and eternal I/O SDI units from Matrox, AJA, BMD, and others offer some great advantages.

For those people who want spend less and keep their current workflow as well as keep their “trusty” Mac Pro going for a few more years, then read on…..

Since I spend a fair amount of time testing high-end equipment and upgrades and my lab test machines for the TechTable are rarely over 18 months old, I reached out to good friend and colleague, Al Mooney (Premiere Pro Sr. Prod Manager) , who I know is very attached to his 2009 Mac Pro and would be a great candidate for an honest opinion of doing an upgrade like this. For those people that know Al, you know that he calls it like it is. Needless to say, he was up for it.


As most longtime Mac users know, a great resource for what’s new in Mac upgrades has always been OWC (Other World I’ve used them for years and I cruise their website several times a year just to see what’s new.

For  Al’s aging 2009 Mac Pro, I hit the website and easily gathered all the necessary “Pieces n’ Parts” for his upgrade.

These are the options that picked out for Al and  listed in order of performance relevance in case you plan to add these over time instead of all at once. (**note** not all Mac Pro Towers  take the same parts and some are limited to older OSX versions and it’s always a good idea to call your local Mac reseller or even the guys at OWC and double check your model for the correct parts)

680 mac

#1 on your list should be an NVIDIA 680 for Mac card or Quadro K5000 for Mac. This will breath new life in OSX as well as our new CC Pro Video & Imaging apps which use the GPU extensively. To me, the 680 card for Mac is a HUGE value for the price/performance it delivers .



#2 is adding an SSD Boot drive  –  get the largest one you can as prices are nearly half of what they were last year. You’ll also need a Mac Pro drive bracket designed for your specific model Mac Pro (there are a few different models) . This one upgrade alone will make your day as the boot and application launch times are insanely fast. BTW: Another great benefit of OWC SSD drives is native Apple Trim support. 



#3 USB 3.0 card. This one feature will allow you to connect to the latest USB 3.0 drives and Raids for insane transfer speeds when compared to your current clunky USB 2.0. Make sure get a card that requires no additional drivers to work in Mac OSX. The NEWER Tech card I picked out offers 2 USB 3.0 and 2 SATA ports.These cards also currently require that you turn sleep off on your Mac Pro to reduce the possibility of the USB 3.0 drives from disconnecting. Also rememeber to only connect USB 3.0 drives & 3.0 hubs to these ports . Use your built in USB 2.0 ports for everything else like keyboards , Apple display USB, mice, trackballs, controllers. (yes, it’s a common mistake that I see all the time)


AL ram

#4 Max RAM . Since you are taking the time to keep you old Mac Pro going a bit longer., and if you have not done it already, consider installing 32GB (Max for some models) or more if you can.


Here’s Al’s comment after his upgrade.

“It was getting to a stage where my long-serving Mac Pro was taking a long, long time to get up in the morning, and having spoken to a lot of customers who have breathed new life into these machines without forking out for something brand new, I wanted to try it myself. Dave helped me identify what I needed, and Cloud (my cat) did the install with my supervision. He’s pretty mean with a phillips screwdriver. Now the machine boots up in less than a minute and feels brand new. Amazing! “

Al installCloud

My 2 cents:

Dave Helmly Cartoon Bubble

So,  the bottom line is that if you really want to keep your Mac Pro going a while longer running our latest CC apps, then investing in a few parts is great idea.

One thing about Apple and their engineering –  it’s hard to argue that they really do make incredibly long lasting and beautiful hardware and these old Macs quickly become a “trusted friend” to our critical workflows. Which is easy to see why Al was up for my recommendation on extending the usefulness of his 2009 Mac Pro . No wonder the Apple fan base is growing stronger everyday and the resale of older macs remains strong.

4:58 AM 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
July 25, 2014

Premiere Pro CC 2014.0.1 and AME Update


What’s new

Premiere Pro CC 2014.0.1 Release                             Build 8.01 (21)

Editing Enhancements:

• A Codec column was added to the Project Panel

video codec1




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

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

Bug Fixes:

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

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

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

• Effects could fail to render within effect mask boundaries

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

• Masks could offset Gaussian Blur in CUDA mode

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

• Occasional instance where sequences could never finished rendering

• Relinking to spanned MXF clips could be incorrect

• UI responsiveness could reduce in large projects after relinking

• Exporting merged clips could generate silent or missing audio

• Importing sequences could sometimes fail

• Incorrect timebases could be used on EDL export

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

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

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

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

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

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

• Crashes could occur during export to QuickTime.

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

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

• Asserts and crashes could occur when exporting project to OMF

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

• Submixes could sometimes lose audio

• Noise could be heard in submixes with empty tracks

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

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

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

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

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

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

Adobe Media Encoder CC 2014.0.1 Release                          (Build


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

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

Bug Fixes:

• Improved DCP Color Calibration

• Fix for blurriness issues in complex H264 encodes

• Fix for XAVC encoding failures for assets with no audio

Prelude CC 2014.0.1 Release

• Fixes a bug with the trial usage


Download Updates:

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


Premiere Pro



Premiere Pro


3:19 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
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
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

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