PremierePro

Adobe weblog about Premiere Pro and the success of Premiere Pro customers worldwide

Adobe Media Encoder 2015.2

Alongside last week’s updates of After Effects and Premiere Pro came a new version of Adobe Media Encoder, 2015.2. You can find this release in the Creative Cloud desktop application.

 

This release addressed several issues, details of which appear below:

 

  • The application could crash on shut down when used on a system with an AMD Phenom II processor.
  • J2K exports with an odd-numbered frame width could fail.
  • Issues were encountered when directly importing After Effects compositions.
  • The Generate Timecode effect could incorrectly change the start timecode after the frame rate was changed.
  • XDCAM 35 exports could fail when smart rendering was enabled.
  • Encoding could fail when importing projects containing the ‘/’ or ‘\’ symbols in their name.
  • Exporting to H265 media less than 64 pixels across could cause a Debug event.
  • The installation wording for HEVC and Dolby was not clear.
  • Incorrect audio could be inserted in areas of a sequence where audio was not present.
  • Smart rendering could cause unexpected results.
  • Corrupt frames could occur in exports to MXF HDCAM 422 when using smart rendering.
  • Some Panasonic 50i/60i media imported with incorrect frame rates.
  • H265 exports sometimes encoded incorrect duration and frame rates
  • Older AMD systems (e.g. Athlon) could not utilize QuickTime.
  • 4K projects featuring synthetics or Gaussian Blur could fail to encode, and subsequently cause crashes.
  • Setting the Start Timecode could give unexpected results.
  • Videos that were created by Skype Video Recorder were importing out of sync in some cases.

Premiere Pro CC 2015.2

Today we are releasing an update to Premiere Pro CC which contains multiple bug fixes, and is recommended for all users. Creative Cloud members and trial users will be able to download and install these applications today using the Creative Cloud desktop application, or online from http://www.adobe.com/creativecloud.html. This update does not require project files to be updated.

Alongside the fixes, which are listed below, a new High Quality Playback option has been added to the playback settings. In previous releases, Premiere’s playback settings only gave users fractional resolution choices, and playback was optimized for real time playback performance. At the default settings, frames typically have a slightly softer look during playback vs. pause, even when both are set to full resolution. Toggling on the new High Quality setting can provide a smoother viewing experience, where playback better matches the image quality of frames when paused. High Quality playback may result in dropped frames depending on the media and hardware configuration, and most users will find the default settings are still the best choice for real time playback.

Fixes in Premiere Pro CC 2015.2 address the following issues:

  • Adobe Stock and CC Libraries could not be used by users who connect to the internet using proxy servers.
  • Premiere Pro could not launch on Windows systems with AMD Phenom 2 processors.
  • Users of Wacom tablets could experience interface lag.
  • Multiple fixes with Adobe Stock support.
  • Dissolves displayed incorrectly on OS X El Capitan when working in CUDA mode.
  • Crashing issues when Warp Stabilizer re-analyzes.
  • DNxHD MXF import sometimes failed.
  • Titles could not be imported via the Import dialog on Mac.
  • Playback could stop when audio input was set to digital on Mac.
  • Synchronizing by audio waveform could give inaccurate results.
  • Double clicking a clip or sequence when the Project panel is in icon mode did not open the item.
  • Soft Subclips could appear with black thumbnails in the Project panel.
  • Rendered files sometimes did not maintain sequence start time.
  • A crash occurred with importing .wav files from Fostex DC-R 302 recorders.
  • Moving the info panel could cause a crash.
  • AVCi100 OP-Atom MXF files from Avid displayed incorrectly.
  • Audio drop-outs occurred on export.
  • The final frame of a nested sequence displayed incorrectly when using optical flow with GPU enabled.
  • Merged Clips could become corrupted when round-tripping via FCP XML.
  • PSD files caused Premiere Pro to stop responding when closing a project.
  • Live Text Templates with more then one parameter often lost render previews.
  • Sync Settings did not respect system proxy settings on Windows machines.
  • Specular highlights corrupted when exporting to non-PQ J2K files in HDR workflows.
  • Merged Clips dropped into a sequence were unlinked.
  • Premiere Pro project names incorrectly permitted the back and forward slash characters.
  • Render files did not travel with transition and analysis data.
  • Text layers in Live Text Templates displayed with jaggy edges.
  • XML files exported from FCP 7 could show as corrupt sequences.
  • Incorrect fonts were displayed when importing an XML from Annotation Edit software
  • Reverse playback could occasionally not work.
  • Panasonic 50i/60i .mp4 and .mov displayed incorrectly.
  • Premiere Pro crashed if the preferences folder was set to be read only on Mac
  • Exporting to QuickTime with MPEG-4 Enhanced Low Delay Audio could result in an Error Compiling Movie dialog.
  • GPU playback and rendering failed with sequences containing the Track Matte effect.
  • The About dialog showed an incorrect version number.
  • Crashing could occur with AJA 12-bit HDR output in software mode.
  • IMX 30 full-frame anamorphic exports were incorrectly exported as 4:3.
  • Several situations where crashes could occur have been resolved.

From Sundance to Hollywood, More Filmmakers Than Ever Editing with Premiere Pro CC

This article was originally posted to Creative Cloud blog on Thursday, January 21, 2016.

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Much-Anticipated Hail, Caesar! from Universal and Deadpool from 20th Century Fox Cut Using Premiere Pro CC

From independent productions to Hollywood headliners, 51 films debuting at the 2016 Sundance Film Festival used Adobe Premiere Pro CC as their primary digital editing software.

Sundance, the preeminent festival for groundbreaking work and emerging talent, will include a total of 175 films made with Premiere Pro CC and other Adobe Creative Cloud tools. From in-competition feature films like Christine, Gleason and Swiss Army Man to short films and documentaries, like Richard Linklater – dream is destiny, Premiere Pro CC usage at Sundance has increased 143% percent since 2015.

“With such an ambitious film, we needed the most innovative technology to push creative boundaries,” said Louis Black, co-director of Richard Linklater – dream is destiny, which will premiere at Sundance. “Our story relies on combining decades-old archival footage with interviews from the present. We cut the film in Adobe Premiere Pro CC with incredible results.”

Sundance filmmakers are reflecting the rapid adoption of Adobe’s video workflows. Recent Premiere Pro converts include the four-time Oscar-winning Coen brothers with Hail, Caesar!; director Tim Miller with Deadpool, director David Fincher and Oscar-winning editor Kirk Baxter with Gone Girl; and director Rhys Thomas and producer Lorne Michaels with Staten Island Summer.

Adobe Hosts Must-See Editing Panel

To help indie filmmakers get up to speed on transitioning to modern video editing techniques, Adobe will host a must-see panel at Sundance on January 23 – “Editorial secrets from Hail, Caesar! and Deadpool”, two much-anticipated features due out in February this year.

  • Hail, Caesar!, from NBC/Universal, is set in Hollywood’s golden age and follows a single day in the life of a studio fixer, who’s presented with plenty of problems to fix. The film is produced, directed, written and edited by four-time Oscar-winning filmmakers Joel and Ethan Coen. The panel will include the film’s post-supervisor and associate producer Catherine Farrell and additional editor Katie McQuerrey.
  • Deadpool, a 20th Century FOX film, is based on Marvel Comics’ most unconventional anti-hero, Deadpool, and tells the back story of former Special Forces operative-turned-mercenary Wade Wilson. The panel will include director Tim Miller and Vashi Nedomansky, the Premiere Pro CC, editing consultant and workflow specialist on the film.

These former Avid Media Composer and Apple Final Cut Pro filmmakers will discuss their approach to storytelling, state-of-the-art workflows, and how and why they switched to Adobe Premiere Pro CC.  The panel will be held on Saturday, January 23 from 3:30– 4:30 pm MST at the Airbnb Haus (596 Main Street, Park City). For those unable to attend the panel, a recording will be available the following week at www.adobe.com/go/video.

“Adobe really revamped Premiere Pro CC from the ground up. I love the interoperability with other programs like After Effects CC and the ability to do quick composites,” said Tim Miller, director of Deadpool. “We need an uninterrupted workflow between the idea and output. Premiere Pro CC is clean and fast, which is what I want.”

 

Learn more about Adobe at the 2016 Sundance Film Festival

Learn more about Adobe Creative Cloud video and audio tools

Download a free trial of Adobe Premiere Pro CC

Joke Productions shoots, edits, and delivers new Oxygen series

“Snapped: She Made Me Do It” reality crime series cut exclusively with Adobe Premiere Pro CC

Joke Productions, founded by the husband and wife team of Biagio Messina and Joke Fincioen, creates and executive produces unscripted TV shows, documentary series, and reality television for major networks. Like many people in this industry, they started working in a one bedroom apartment. Today, they operate a 7,000 square foot studio located in Hollywood, California near Universal Studios.

After working with Final Cut Pro 7 for years, the company switched to Adobe Premiere Pro CC to edit its new Oxygen series, Snapped: She Made Me Do It. Joke Productions workflow is now 100% Adobe Creative Cloud and the team has declared Premiere Pro CC “reality ready.”

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Popping Up in Premiere Pro and Audition

An interview with the creators of Pop Up Archive, a cutting-edge solution that makes sound searchable

In 2012, Pop Up Archive co-founders Anne Wootton and Bailey Smith set out to push media forward. As journalists they’d seen firsthand the challenges facing audio producers. While pursuing their Masters degrees at the UC Berkeley School of Information with a focus on uniting technology and media, they identified the need to search, organize, and archive audio. We sat down with Anne Wootton and software engineer Shindo Strzelczyk, to learn how the team developed an award-winning solution for this industry need.

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Ask a Video Pro Webinars

Recent Sessions

A Front Row Seat - webcast presented by Jason Levine & special guest, Siân Fever LIVE from IBC Show 2015
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Using Character Animator - presented by Dan Ramirez
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Filmmaking from Scratch - presented by Dave Basulto
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My Filmmaking Toolkit - presented by Maxim Jago
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Think Like a Colorist, Work Like an Editor - presented by Robbie Carman
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The Editor's Journey - presented by Vashi Nedomansky
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What’s Next for Adobe Pro Video Tools - presented by Jason Levine from NAB Show 2015
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Managing Video Formats with Adobe Media Encoder - presented by Joost van der Hoeven
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The Filmmaking Workflow with Premiere Pro & Creative Cloud - presented by Christine Steele
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After Effects for (almost!) Everyone - presented by Joost van der Hoeven.
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Boost Your Career with a Killer Reel presented by Rod Harlan
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