March, 2012 Archives
Our executives announced a while ago that we would be releasing new versions of our software in the “first half of 2012″.
If you want to stay up to date and get the big news as soon as it’s available, I recommend subscribing to the team blogs for the video and audio applications. If you’d like to keep up with a daily stream of information beyond the big stuff that goes on our team blogs, then you should also consider following us on Facebook and/or Twitter.
Here are a few posts that give the details for each major area:
Hi, I’m David McGavran, the Premiere Pro engineering manager.
Thanks to a recent report from Jeff Harrell, we have found a couple of issues with timecode, one of which appears to be in Premiere Pro, and one of which appears to be in QTChange:
1. QTChange uses a value for calculating frame rate and timecode of 23.98 (2398/100) instead of the expected 23.976 (23976/1000 or 24000/1001). We have put a patch in place in a future version of Premiere Pro to deal with other software using this value, and we have contacted the author of QTChange to see if they are interested in improving how they write timecode.
2. Premiere Pro also has an issue with round-tripping start timecode with AAF files. This is our bug. We have fixed this bug in an internal build, and we are now testing it and determining how we will be able to address this issue in a future release of Premiere Pro.
We really appreciate the fact that one of our users was able to help us to find and isolate these issues. If you encounter such a problem, please let us know. The best way to let us know about a bug is by submitting a bug report. You can (and should) also write in to our forums and ask for help there, and maybe one of us will jump in and help you out on the forum.
I will be at NAB this year running around so come find me and say “hi”. Ask at the Adobe booth; they’ll know where I am.
Thanks for listening, and thanks for letting us know how we can better help you and make the NLE that you want!
This week, we released an update to Adobe Story. When you start the Adobe Story desktop application, you should be prompted to update the application. After you have accepted this invitation to update the application, the update will be downloaded and installed.
In addition to several bug fixes, this update adds many new features. You can see the details of what was added and changed in this update in the release notes.
Here are the high points:
- schedule changes
- comparing schedules and finding conflicts between them: Story allows you to compare two schedules and find out if any sets or characters are committed to both schedules for the same time.
- start-of-day breaks and end-of-day breaks: For a schedule, you can choose to have either end-of-day breaks or start-of-day breaks. A day break also collates and displays the total number of pages in the scenes for a day, which gives you an idea of the volume of the script to cover in a day.
- printing a schedule: You can print a schedule to paper or PDF.
- automatic calculation of shooting time in a schedule: Story helps you time the strips and days in a schedule.
- synchronizing only selected properties: When synchronizing, properties that are not selected are not synchronized, and the data is retained in the schedule.
- … and more: schedule notes, ability to split a scene, information-only banners in schedules
- script changes
- customizing script view: You can choose to show the script in outline view, expand scenes, and show the scene property panel.
- ability to import a text, Word, or PDF document as a version of an existing script: When you edit a copy of a script outside of Adobe Story, you can import the document as the latest version of the script.
- ability to group scenes into acts and view act in outline view: You can group scenes in your script into any number of acts, drag and drop scenes to arrange them in acts, and expand and collapse the acts in outline view.
- … and more: ability to move entire dialog to next page if it does not fit, script property enhancements
- report changes
- camera card reports: Story can generate camera card reports for all cameras or only specified cameras.
- … and more: option to refresh reports when source data is updated, export of reports to HTM format (compatible with Microsoft Word)
- list changes
- adding image links for a character, actor, or set: You can assign online images to characters, actors, and sets in the respective lists by adding image links to them.
- ability to disable and enable characters in a character list: You can disable characters in a script’s assigned character list. The disabled characters do not appear in the smart type.
- ability to assign Set groups to sets
If you have questions or would like to give us feedback about Adobe Story, please come to the Adobe Story user forum. If you’d like to keep up-to-date with news about Adobe Story, here are a few ways to do so.
Recently, Adobe and RED presented an hour-long online seminar about using Adobe software with RED Digital Cinema cameras.
Representing RED was Ted Schilowitz (“Leader of the Rebellion”), and representing Adobe was Wes Howell, software quality engineer.
To watch the recording, click this link.
Ted and Wes talked about quite a few things in this seminar. Here’s a quick summary, with links to resources for more information about the subjects that they covered:
- Ted showed two RED cameras, the Scarlet and the EPIC, and explained their similarities and differences. He gave some useful details about the EPIC camera’s ability to record at a greater frame rate at large frame sizes.
To use EPIC or Scarlet footage in Premiere Pro CS5.5 or After Effects CS5.5, you must install the EPIC and Scarlet importer. This importer plug-in does not work with Premiere Pro CS5 or After Effects CS5.
- Ted also showed a RED Rocket card and explained the performance improvements that can be achieved with this card.
Note that users of Premiere Pro CS5 or After Effects CS5 must have the 5.0.2 or 10.0.1 update for these applications to use a RED Rocket card. These are the same updates that are required for the CS5 applications to use RMD (RED metadata) files and the updated color science. The CS5.5 applications have these changes built in.
- Wes showed the Media Browser, which makes browsing and importing media in tapeless formats much more convenient—especially when working with spanned clips.
- Wes showed a few other tips for setting up Premiere Pro and After Effects to best work with RED files:
- decreasing resolution for playback and pause to improve performance
- creating a sequence with the right settings, matching the footage
- using Default Scale To Frame Size versus Scale property in Motion effect for fitting RED footage to the frame size of an HD sequence
- setting color depth to 32bpc in After Effects
- setting working color space to Rec. 709 in After Effects
- Wes also showed the basics of using time-remapping—which can be done in Premiere Pro or After Effects—and discussed the use of the Warp Stabilizer.
- Both Ted and Wes talked about hardware for optimum performance with Premiere Pro and After Effects. For information about hardware decisions that influence performance, see this page.
Some aspects of this seminar were specific to Premiere Pro CS5.5 and After Effects CS5.5, but most of it was also relevant to users of the CS5 versions of these applications. For details of what’s changed with regard to RED features in Premiere Pro CS5.5, see this page.
If you have any questions about working with RED cameras and footage, bring them to the RED User forum, where several member of the Adobe and RED teams hang out. If you have questions about Premiere Pro in general, bring them to the Adobe Premiere Pro user-to-user forum.
There are a lot of good resources for editors who are familiar with Final Cut Pro who want to learn how to use Adobe Premiere Pro. Among the best of these resources are those created by Robbie Carman and his partners.
If you’re looking for video training on this subject, I recommend Robbie’s Migrating from Final Cut Pro 7 to Premiere Pro, available on the Lynda.com website. In this series, Robbie is friendly, casual, and engaging while imparting a lot of useful information; he seems to be a natural teacher. I especially appreciate how much Robbie’s years of experience as an editor and colorist come through in his evaluations of the pros and cons of certain ways of working.
You don’t need to take my word for how good this video series is; the fine folks at Lynda.com have made some videos available as free samples:
If you’re looking for a book on the subject, then you should definitely check out Robbie’s book Editor’s Guide to Adobe Premiere Pro. (It also contains several hours of videos on its companion DVD.)
Robbie also recorded a one-hour online seminar about color correction and grading with Premiere Pro, which I highly recommend.