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P2 support in Premiere Pro + Audition 3.0!

There is a ton of announcements from Adobe today as we kick off both Photoshop World and IBC.  The two bigs ones for me are the announcement of P2/MXF support in Premiere Pro and Audition 3.

We knew we needed to get an MXF story going and as I’ve said before, sometimes adding the feature later than your competition gives you the best solution because you’ve heard from the customers about what they want.  Such is the case with our P2 and MXF support.

Premiere Pro and P2/MXF click on the Native P2 support link

I’m looking forward to playing around with this fully, but so far the response from testers has been tremendous.  There’s no transcoding or rewrapping.  More details will be coming, but this is great news for all DVCProHD customers.

Audition 3.0 takes all of the innovations from Soundbooth and wraps them up as well as expands upon traditional strengths of Audition such as the Spectral Editing capabilities. I haven’t played with this yet, but certainly look forward to all the increased capabilities.  Having a fade editor in Audition (finally!) will be worth it for me alone.

Adobe Audition 3.0 product page



Hi, I am also looking into purchasing one of Red’s newer cameras, The Scarlet. There a a huge number of Premiere users that are looking as well. We all want to know what might be in the future for the support of the r3d files from the Red cameras? On Red’s user forum, http://www.scarletuser.com ,many people are requesting for support on the Scarlet from Red as well. Due to its expected impact on the video industry it would be a huge asset for Adobe to have the new file handling support. Hopefully Adobe will allow it to be a downloadable update for Premiere Pro 1.5-CS3 as well as Afeter Effects users.

Any news/possibility that adobe are going to support r3d files in the foreseeable future?

[DR – James, I guess you can look at all of the comments on my AVC HD thread and extrapolate my answer. RIght now, I would think that a couple of other formats are going to take precedence over Red files. However, I know that we’d like to do it, and I could definitely be wrong on this one!]

I too have a great interest in .r3d support. I have a camera due in within the next few weeks (#234) and would love to have a working post path once the camera arrives.

Considering the importance of RED, this is a great oppertunity for Adobe to regain market share.

[DR – Kevin, we are following the development of Red closely and are speaking with the company. More than that, I cannot say. I will say that if we support the Red, I’m confident that our solution will be comprehensive and compelling!]

I’m so glad that Adobe finally got p2 support. I really hope this support includes rewrapped p2 mov files since that is what clients using FCP give me.

The Red camera support is huge! Adobe needs to hurry up on this one. My company has #1108 reserved and we’d love to be able to use Adobe’s workflow without having to convert to some other format first. Please Please, have support for Red. There are a lot of Red owners that would beta test for you, me included.

[DR – HI Steve, thanks for the comments… Actually, no, we don’t rewrap the P2 files in .mov because it’s another step. Our customer research conclusively talked about how no transcoding or rewrapping was essential for the smoothest and comprehensive workflow. So, compatibility with FCP in this respect will be a bit less than what you’re looking for. Perhaps something will happen over the next several months. Once it’s out, I hope that you’ll give it a try.

With regards to the RED camera, we’ll have third party support for it at some point, but at this time, we do not support the RED camera. And just like our P2 implementation, we hope to deliver a solution that doesn’t require us to transcode to another format prior to editing.]

I was just disappointed that there was no love for the Red camera’s .r3d format.

From what I’ve been able to pick up, Premiere Pro is the only NLE that has a real good chance to edit 4k footage without having to resort to 2k proxies… and I don’t want to start converting to another codec like Cinaform to do it.

This would give Adobe a chance to show high end content producers that Adobe can stand in there with Apple and Avid.

When I tell industry folk that I edit in Premiere Pro the inevitable response is for them to ask when I’m going to “move up” to Final Cut or Avid.

I’d love to be able to answer with “As soon as they can edit 16 bit 4K footage”.

I’ve got Red #351 on order and I’d rather not have to move to Final Cut Studio on a Mac to get a better workflow.

[DR – It’s not that there is ‘no love’ for the RED camera, far from it. In a perfect world we’d support everything before it comes out, but the reality is far from it. In many cases, it is a huge development effort to build support for new formats.

The RED camera will be very interesting and hopefully Adobe will have support for it in the future. In the meantime, I’m still excited about superior P2/MXF support for the thousands of Panasonic DVCProHD cameras that are out there.]

One small card, one big step for digital storytelling.

look forward to working with the two together.



Yay for Audition 3.0! The product tour looks promising, but most of it looked like 2.0 stuff.

Features I’ve been wishing for have been:
1. CD ISO creation.
2. Marker/Cue list saving/templates
3. Batch export individual track ranges as separate MP3s or WAVs.
4. Marker/Cue Info -> ID3 Tag for #4.

I suppose if they’re not in 3.0, I’ll have to wait for 3.5. =(

Was or will there be a public beta?

Also, I wish there was a discount for the full version for CS3 Suite owners. Now it costs an extra $350 for the (real) complete range of creative products.

[DR – good points and questions. I don’t know what the answers are, but I’ll try to find out.]

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