May 29, 2009
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.
December 10, 2008
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.
November 21, 2008
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)
September 25, 2008
The new Production Premium CS4 now supports AVCHD for Premiere Pro, AfterEffects, and Encore. With the various price ranges of AVCHD cameras, tapeless workflows will surely reach the mainstream in the near future. I’ve been using CS4 internally for quite a while and have been totally converted to the new CS4 workflow.
Take a look at the quick workflow video and see what’s new in Production Premium CS4 and AVCHD. I also show a few more CS4 features like the new Media Browser which lets you browse media from any drive right from Premiere Pro. (The big advantage is here is not having to import unknown clips just to view them).
August 18, 2008
The RED plug-in has been released.
CLICK HERE TO SEE NEW ARTICLE and video
Adobe Production Premium support !
For a few weeks now I have been checking out the new Red Camera Adobe Importer plug-in for Premiere Pro, AfterEffects, and Encore. For their first Adobe CS3 plug-in, they’ve done some excellent work. Their importer plug-in makes using the native R3D file type as easy as any of the other tapeless formats we currently support with CS3. As with our P2 and XDCAM support, importing is as easy as drag and drop or you can still use the standard File>Import dialog. The Plug-in gets installed in the Adobe Common MediaCore folder and is shared by all Adobe video applications. Yes, there are plug-ins for both Intel Mac and Windows. Windows users might consider using Vista64 so they can address more than 3.6 GB of RAM for the larger frame sizes(yes – currently CS3 can only address upto 4GB of Ram on Windows ** stayed tuned ** we’ll have a better answer – more on that later) Vista users, just remember to turn off all of the friendly Vista helpful messages like “Cancel or Allow?” )
April 29, 2008
Blu-ray Playback Problems ?
After reading a few emails with people having issues playing back their Blu-ray discs created with Encore (or most other BD-R authoring apps), I thought I should mention a few basic 101 tips to help people just getting started with BR authoring.
FIRMWARE WARS – if you are making BD-R’s for yourself or for your customers, it a good idea to get to know the more popular Blu-ray players. WHY? Most of the older Blu-ray players (if not 100%) need a firmware update to play BD-R or BD-RE (re-writeable). WHY? I’ve heard arguments ranging from constant changing of the Blu-ray spec to copyright issues. Either way it will effect all of us at some point that are burning Blu-ray video from desktop applications like Adobe Encore.
April 13, 2008
Intro to PremierePro CS3 and XDCAM, XDCAM HD, and XDCAM EX support
For Intel Macs and Windows XP/Visa (Version 3.2.0)
What’s New ?
With Premiere Pro CS3 and the 3.2.0 update, you can now natively Ingest, and Edit Sony’s XDCAM (DVCAM), XDCAM HD, and XDCAM EX format. Just as you would expect from Adobe and the Premiere Pro team, just drag and drop directly from the card into the Project Panel and start editing. No need to transcode your video with “wacky” single platform codec’s and no need to worry about .mov and .avi files – just edit ! There are also more updates to the MPEG-2 (HDV) editing modes. For more info jump to the “What’s New in the 3.2.0 release?” section and read about new Fixes, Known Issues, and more.
To Learn More ………..Click Continue Reading
March 2, 2008
During our internal CS3 beta cycles of Adobe PremierePro CS3 and Adobe Encore CS3 , I spent most of my efforts on HDV and Blu-ray workflows while prepping for NAB 2007. The idea was to come up with a simple workflow allowing the user to ingest HDV and end up with a playable Blu-ray disc for the Sony Playstation 3, which is currently the least expensive Blu-ray player. In the Adobe booth we demo’d Blu-ray authoring on an Intel QuadCore Mac and playing burned media on a Playstation3. We had 2 Blu-ray discs, one encoded as MPEG2 Single Pass (draft mode) and a H.264 Two Pass (High Quality Mode) ** UPDATE ** Since this article was written last year, I have spent my early 2008 efforts on working with Panasonic P2 footage and Blu-ray and have been very happy with the workflow. P2 footage to Blu-ray works amazing well with Encore. Look for an upcoming article. Once you go tapeless , it’s hard to go back to tape. I’ll also be working with Sony EX tapeless footage this year as well – Stay tuned.
In the Sony booth Blu-ray area, a Sony Rep was demoing and burning Blu-ray discs from EncoreCS3 via a Sony burner and Dell machine. He was taking the burned BD-RE Sony disc from the Dell Desktop and playing it in the PS3.For time sake, they were also encoding in MPEG2 Single pass “draft mode” and using a standard DVD size project (720×480). This allowed them to demo a complete “click to burn” cycle in just a few minutes. They wanted to show a complete Blu-ray workflow from PremierePro’s Timeline to Encore to Auto Erase to burn, and lastly, playing in the PS3. It was a great demo. The video quality was so so, but keep in mind that the idea was to show the workflow, not wait for a long H264 Encode for the highest quality.
Read on to learn more …….