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September, 2010 Archives

Final Cut Pro XML export improvements in Premiere Pro CS5 (5.0.2) update

If you haven’t already installed the Premiere Pro CS5 (5.0.2) update, then you should do so. That updates fixes a lot of problems and adds a lot of new capabilities.

In the post providing details of the Premiere Pro CS5 (5.0.2) update, one item says ‘various fixes for Final Cut Pro XML export’. A few people have asked what those fixes are, exactly. So, here they are.

  • Premiere Pro no longer appends file://localhost to network path names on Windows.
  • <name> attributes are now exported for <clipitem> elements.
  • Any special characters in the <reel> attribute are now encoded as XML instead of passing through untranslated.
  • The duration and rate of master clips are now set accurately instead of using dummy default values. This typically only matters for media that’s offline when the XML is imported, since the contents of an online media file overrule these in both FCP and Premiere Pro.
  • Markers and subclip offsets should now be written using the correct framerate instead of always being set to 29.97fps.
  • The <audio> element now has a new complex subelement <outputs>. <outputs> objects are exported for audio track groups. This subelement is used primarily for round-tripping 5.1 channel audio through Premiere Pro.
  • <audiolevels> objects are now written to tracks that have had audio level adjustments in Premiere Pro.
  • Each audio <track> element now has a new <hardpan> attribute (Premiere Pro proprietary) and <outputchannelindex> attribute (FCP standard) to help with multi-channel audio round-tripping.
  • <uuid> attributes are now exported for clips and sequences. These UUIDs (universally unique identifers) can be used for custom workflows. When using the normal FCP import mechanism, Premiere Pro will generate new UUIDs for each clip or sequence it imports through FCP XML, rather than reusing the ones in the XML file.
  • Fixed an FCP import failure on 64-bit Windows when running with top-down memory addressing.

See this page for details of exporting a Premiere Pro project as a Final Cut Pro XML project file.
“Export a Final Cut Pro XML project file”

Welcome Kevin Monahan, the new Premiere Pro documentation person.

As I mentioned recently, I’m now in Technical Support, providing online, one-to-many assistance for Adobe’s professional video software on forums and blogs and social-media-whatsits.

Now, it’s my pleasure to introduce my replacement in the role of “Community and Content Lead” (otherwise known as “documentation lead”) for After Effects, Premiere Pro, and Adobe Media Encoder.

I asked Kevin if he minded me sharing his email address with y’all, as I have done with my own, and he said that he’d like to continue the pattern of openness. So, here it is: kmonahan -at- adobe -dot- com

Kevin is especially interested in continuing the process of finding, linking to, and enabling the great tutorials, articles, and other resources that can add to the system of resources that can be used to learn Premiere Pro.

Of course, the best way to give feedback about the Premiere Pro Help document is still to add a comment at the bottom of the relevant page. You can add comments to add information, to add links, to make corrections, or to ask for clarification.

Premiere Pro resources for Final Cut Pro and Avid Media Composer users

These PDF documents were created to ease the transition to Premiere Pro from Final Cut Pro and Avid Media Composer, but they’re also very good overviews for anyone getting started with Premiere Pro:

video2brain offers a course by Maxim Jago: Premiere Pro for Avid and Final Cut Pro Editors

Peachpit Press offers a book by Rich Harrington, Robbie Carman and Jeff Greenberg that is very good for the experienced editor moving to Premiere Pro from another NLE: An Editor’s Guide to Adobe Premiere Pro

Many more resources for getting started with Premiere Pro are here.

If you have questions, please come to the Adobe Premiere Pro forum, where Adobe personnel and fellow users can help you.

Premiere Pro CS5 (5.0.2) update: bug fixes and CUDA support

UPDATE: The Premiere Pro CS5 (5.0.3) update is now available and contains all of the fixes in the 5.0.2 update, plus many more.

Today, the Premiere Pro CS5 (5.0.2) update was released.

If Adobe Application Manager hasn’t already told you about this, go ahead and check for new updates for Premiere Pro CS5. Ideally, you should check for updates by choosing Help > Updates. But you can also directly download the update packages from the download pages for Windows or Mac OS, using the “Adobe Premiere Pro CS5 5.0.2 update” link. (If you download from the web page, you must choose the correct patcher based on your original installation type.)

If you have difficulty with this update, please bring questions and issues to the Premiere Pro forum. Don’t ask questions in the comments on this blog post, which fewer people will see.

There are a lot of fixes and tweaks in this update. You can read the complete list in the Premiere Pro 5.0.2 release notes. I’ll mention a few changes and fixes here, since some of these are important enough that I really want to make sure that people see them.

You should also install the Adobe Media Encoder CS5 (5.0.1) update (Windows or Mac OS), which got some bug fixes and additional formats and export settings presets, including several for F4V and FLV formats. (The download pages might not be updated yet at the time that you’re reading this.)

The After Effects CS5 (10.0.1) update is also available.

new and changed features

  • We made several improvements to RED (R3D) import and workflow. See the last section of this post for details.
  • Premiere Pro CS5 now integrates with CS Review.
  • QuickTime (.mov) files from JVC solid-state cameras can be imported.
  • Added sequence presets: Canon XF MPEG2 720p30 and Canon XF MPEG2 720p25.
  • Premiere Pro CS5 (5.0.2) can export MXF files containing MPEG-2 essence items that comply with the XDCAM HD format used by such systems as Avid Unity. The standalone Adobe Media Encoder can also export files in this format.
  • Added support for source timecode in XDCAM HD422 files.
  • Added 10-bit DisplayPort support for NVIDIA Quadro cards on Windows.
  • Audio files in Broadcast Wave (.wav) format can be imported, and timecode in these files is read and preserved. Audio in exported OMF files can be in Broadcast Wave format.
  • Premiere Pro CS5 (5.0.2) for Windows adds support for the following graphics cards to accelerate processing using CUDA technology on the GPU: GTX 470, Quadro 4000, and Quadro 5000. For a complete list of supported graphics cards, see the Premiere Pro system requirements. For more information about CUDA acceleration of processing and the Mercury playback engine in general, see Premiere Pro Help.

bug fixes

There are a lot of fixes in this update. For details and a very long list of fixes, see the Premiere Pro 5.0.2 release notes.

Note that we were able to find and fix a lot of these problems because of the great feedback that we got when we asked people to use the crash reporter. Please keep doing so. And don’t hesitate to file bugs and send feature requests.

Here’s a partial list of bug fixes in this update:

  • Various crashing issues fixed.
  • When using AIFF source audio, previews and rendered and exported audio were scrambled or jumped around. (See this Technical Support document.)
  • Adobe Premiere Pro projects files were growing very large (“bloating”), causing projects to take a long time to load, and sometimes causing projects to fail to load.
  • The time to start Premiere Pro, load workspaces, and load a project have been decreased (improved).
  • Title Designer panel showed no background video.
  • XDCAM HD422 files generated by Convergent Design Nano Flash were imported with garbled audio.
  • XDCAM EX media in a project was reconformed every time the project was opened.
  • Four-channel audio recorded by Sony XDCAM EX camera was not being imported correctly.
  • GPU-accelerated export through Adobe Media Encoder didn’t work correctly on Windows.
  • Audio-only capture on Mac OS failed.
  • Time required to render a preview increased each time the sequence was rendered.
  • BMP and GIF files were not importing on Mac OS.
  • Preview files were missing when a project was reopened.
  • Various fixes for color shifts, gamma shifts, and incorrect color rendering for many formats and codecs.
  • Various fixes for Final Cut Pro XML export. (See this page for details.)
  • Various timecode fixes.
  • Various fixes for performance and stability when using still-image files.
  • Various fixes for performance, stability, and fidelity of CUDA-accelerated rendering using the GPU rendering pipeline in the Mercury playback engine (MPE).
  • Various fixes for Firewire (IEEE 1394) output.
  • Various fixes for Panasonic P2 media.
  • Various fixes for audio and video being out of synch and audio playing at the wrong time.

One of the fixes for audio and video synchronization problems involves the MPEG index (.mpgindex) files created when Premiere Pro indexes imported MPEG-based media. If you re-index these files after installing the update, some problems with audio playing at the wrong time may be fixed. You can cause a file to be re-indexed by deleting the associated MPEG index files from the media cache.

other software updates known to address problems with Premiere Pro

We have also been working with several providers of plug-ins, codecs, and hardware devices (such as Cineform and BlackMagic) to assist them in updating their software to fix some errors and crashes. Please take this opportunity to download and install updated codecs, plug-ins, and drivers from these providers, as relevant to your work.

known issues

See the Premiere Pro 5.0.2 release notes for other known issues.

  • Possible hang on start if firewall or other software (such as ZoneAlarm or FileMaker) blocks communication between Premiere Pro and related components. (See this Technical Support document for more information and solutions.)

updates for RED (R3D) footage and new REDCODE plug-ins

  • Updated support for build 30 (Mysterium-X sensor, new color science) support: This is the same support that’s available as the RED3 Importer prerelease available on the Adobe Labs website. The difference is that the new RED importer software is installed with the Premiere Pro 5.0.2 update, so you don’t need to install the importer plug-in from the Labs website. For more information about changes and bug fixes in this importer, and how to make it work, see this blog post about the updated RED importer.

    Note: If you save a project using R3D files from Premiere Pro CS5 5.0.2 and then open the same project in Premiere Pro CS5 5.0.0 or 5.0.1, R3D footage items in that project will be reset to default source settings. Premiere Pro CS5 5.0.0 and 5.0.1 use an older version of the RED importer plug-in. Also, Premiere Pro CS4 and Premiere Pro CS5 (5.0.0 and 5.0.1) projects that use color science version 1 will use the new color science (version 2) when opened using Premiere Pro CS5 (5.0.2). If you are using R3D footage in a multiple-machine environment, make sure all machines are using the same version of Premiere Pro.

  • Initial support for RMD metadata sidecar files: RED (R3D) video files can store settings in RMD (RED metadata) sidecar files. Premiere Pro 5.0.2 introduces a Save RMD button in the lower right of the RED R3D Source Settings dialog box, with which you can save the current settings in the dialog box to an RMD sidecar file. You can also load or reload a sidecar file and set the settings in the dialog box to those in the sidecar file by clicking the Reload From RMD button. If there is no RMD sidecar file associated with the video file, the Reload From RMD button resets the settings to the defaults.
  • Support for RED Rocket cards: RED Rocket cards are optional cards that can accelerate decoding and debayering of RED (R3D) files. To tell Premiere Pro to make use of an installed RED Rocket card, use the Enable RED Rocket (Global Setting) menu in the RED (R3D) Source Settings dialog box. The options are None, One, and All. The One and All settings refer to the maximum number that will be used by Premiere Pro; if fewer are available, then only the available number will be used. If another application acquires the ROCKET card before Premiere Pro does, Premiere Pro does not display a message at launch that it will fall back to software (non-ROCKET) rendering.

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