September, 2013 Archives
As part of Creative Cloud, we are able to bring exciting new features to Adobe Premiere Pro far quicker and more regularly than ever before to help you stay a step ahead. Less than 4 months after the CC releases shipped, Creative Cloud will be adding over 150 new features that greatly improve video workflows, with significant new updates to Adobe Premiere Pro CC, After Effects CC, SpeedGrade CC, Prelude CC, Adobe Media Encoder CC, Adobe Story and previewing a brand-new iPad app, Prelude Live Logger. We’ll be demoing these new features at the IBC tradeshow this week, and they will be available to all Creative Cloud members soon. Learn more about all the new Video releases here, and see an overview video of the new features in Premiere Pro here.
Our forthcoming October 2013 release of Premiere Pro CC brings a slew of new features to allow editors to work faster than ever, at higher fidelity, with previously unimagined access to rich color grading and processing tools.
Color is becoming increasingly important throughout an entire production workflow, and the addition of the Lumetri Deep Color Engine in the June 2013 Premiere Pro CC release gave editors the ability to work with beautiful SpeedGrade grades right inside the application. With this release, SpeedGrade has fully implemented the Mercury Playback Engine from Premiere Pro, and a brand new workflow between the two applications is being introduced, namely Direct Link. With Direct Link, editors can save a project in Premiere Pro and then open the sequence they were working on directly in SpeedGrade, with no need to deal with interchange formats or any kind of conversion. SpeedGrade then opens the sequence in a familiar timeline that more closely matches how you work in Premiere Pro. You can access all the clip edit points, transitions, and layers, using the same track layout as Premiere Pro. From there, create your grades, and then reopen the same project in Premiere Pro with all your color work fully intact. This workflow uses no interchange formats and no importing or exporting – it’s just the same Premiere Pro project moving between the two applications. See a quick demo video here.
Responding to rapid changes in the industry with the move to Ultra High Definition 4K formats and beyond, Premiere Pro’s outstanding native media support has been given a major boost this release. New native file format support for Cinema DNG, Sony RAW, Phantom Cine, improved MJPG from Canon 1DC, Sony XAVC Long GOP, Panasonic AVC Ultra (Long GOP), 64 bit ProRes decoding (Mac OS X 10.8 or higher only), and support for exporting XAVC up to 4K and AVCi200 is included, and Cinema DNG can be debayered on a supported GPU for even better performance. For the highest resolution, RED Dragon 6K is also natively supported, with full RED color science built in. And if a high-powered system isn’t available, improved capabilities for relinking from proxy media back to full resolution, combined with brand new editable sequence settings, make this kind of work much easier. See a quick demo video of the new format support video here.
A host of new editing features are included in this release designed to speed up the creative process. The new Monitor Overlays feature allows for critical information to be superimposed in both Source and Program Monitors. Designed to be flexible and customizable, editors can select which metadata is displayed and where, so important information such as clip timecode, edit point indicators and marker comments can be seen at a glance and in context. Other new editing features like single-click frame hold, rippling of sequence markers, faster maximum JKL speeds (up to 32x), leaner trim icons, drag-drop support for After Effects transitions from popular third-parties like GenArts, new slimmer trim cursors, all add up to this being an essential release for modern editors. See a quick demo video here.
Multicam workflows have been further enhanced, with easy control over the ordering of angles, and the ability to switch angles on and off, making working with large numbers of camera angles simple. Working with multicam source sequences is also improved, with Premiere Pro now displaying a composite view during the edit, so the multicam view matches the final output, and displays any applied scaling or effects.
We continue to strive to bring regular, feature-rich releases to Adobe Creative Cloud, and the October 2013 release is a great example of how passionate we are about bringing editors the features and workflows they need to work fast and as creatively as possible in the world of modern production.
Other new features in this October 2013 release of Premiere Pro CC include:
- Back button added to Media Browser
- Sequences have thumbnails that Hover Scrub in Icon view in the Project Panel
- The Add Edit command overrides track targeting, favoring instead the selected clips under the playhead
- The Edit To Tape dialog supports JKL shortcuts
- Negative speeds can be set in the Clip Speed/Duration dialog for reverse playback
- Audio channel layouts can be selected during QuickTime export
- The Clip Name effect provides three naming options (Sequence Item Name, Project Item Name, File Name)
- The Timecode effect automatically matches the Time Display parameter (or timebase) to the source clip
- Transitions can be pasted to multiple edit points
- All Effect parameters have individual reset buttons
- Support for reading captions from MXF files (SMPTE 436M ancillary data track) as well as writing captions to the MXF OP1a format
- Support for decoding and re-encoding CEA-708 captions.
- Captions in QuickTime movies can be read regardless of the video codec
- Caption files with a *.dfxp filename extension can be imported
- Camera angles in Multicam source sequences can display camera angles as track names or clip names
- New preference to allow the trim type of a previously selected point with the cursor
- Improved, GPU accelerated Direct Manipulation
- Multiple clips and sequences can be sent to Adobe Media Encoder at once
- +1 more feature – decided by YOU
We asked. You answered. Many of the JDI feature requests submitted are already IN the list above, now you have the chance to help us decide one more feature that will be coded at the IBC Show and included in the October 2013 release. Vote via Twitter from Monday, Sept 9th at 6pm PST to Tuesday, Sept 10th at 6pm PST, including @AdobePremiere and #myJDI with the number/name of the feature YOU want in the next release:
- Render Multiple Sequences: Ability to highlight sequences in a bin, and choose to render them all – not encode, just render any effects on those timelines.
- Add Effect Preset: Double clicking an Effect Preset adds it to the selected clip instead of editing the preset. Making them the same behaviour as adding the base effect or plugin keeping workflow consistent.
- In/Out Ripple Delete: Ripple Delete works on in/out ranges not just selection
- Add Keyframe Shortcut: An Add Keyframe keyboard shortcut.
- Toggle All Target Shortcut: Ability to toggle target all tracks on and off at the same time.
The next version of Adobe Media Encoder CC is aimed at helping creatives and AME users deliver their projects faster and more easily, even with the growing number of projects that are processed each day. With the new Adobe Media Encoder CC, we are introducing a range of features that will help you do just that. To view some video demoing our new features, visit our Adobe TV page.
Here is a little more detail on the top new features in development for the next versions of Adobe Media Encoder CC.
- GPU Enabled Rendering –The Mercury Playback Engine inside of Adobe Media Encoder CC is now GPU enabled. This allows you to speed up many of your everyday operations by taking full advantage of your hardware. Tasks such as scaling, pixel format conversions and de-interlacing will all be faster to name a few.
- Automated Image Processing – With the addition of GPU acceleration, Adobe Media Encoder CC helps you create customized output of media including watermarks and TimeCode overlays as well as image processing, such as Lumetri Look or LUTs. You can pick from presets that ship with Adobe Media Encoder or pick from ones you have created yourself.
- Sync Settings – Never again waste time customizing your software every time you use a different machine. The Sync Settings features give you the ability to upload settings files from your local computer to Creative Cloud and then download your settings from Creative Cloud to any other computer from within Adobe Media Encoder CC.
- Format Updates – A number of importers and exporters have been re-written to deliver fast output on new and popular formats such as AVCI and XAVC.
- Native Adobe Premiere Pro CC projects – Adobe Media Encoder CC natively imports Adobe Premiere Pro CC projects to help speed up renders and give you some options. For example, you can choose to render a whole stack of sequences from a Premiere Pro CC project file.
Just 4 months after the CC releases shipped, Creative Cloud is already adding over 150 new features that greatly improves the video products and workflows. Today we are proud to reveal the new features that are coming to the next version of Adobe Prelude CC as well as our other professional video and audio applications Adobe Premiere Pro CC, After Effects CC, Audition CC, Adobe Media Encoder CC and SpeedGrade CC. To learn more about these updates, visit our IBC 2013 page.
The next version of Prelude CC is full of new features to empower and improve your postproduction workflows and to help you jump-start your production. You will save time with an intuitive, keyboard-driven workflow, entering temporal markers and other searchable metadata while keeping your eyes on what matters most: your footage. With expanded file support for ingest and transcoding, Adobe Prelude CC accelerates logging and clip editing with new features such as the ability to export clips and subclips, support for still images, and the ability to export your markers list to name a few. To view some video demoing our new features, visit our Adobe TV page.
Here is a little more detail on the top new features in development for the next versions of Prelude CC.
- Prelude Live Logger – This is an iPad app that is in development and allows you to log live events and on set productions as they are happening with Prelude Live Logger. Once logged on the iPad, you would be able to send the timecode synched markers in an XMP wrapper to Prelude CC desktop via the Creative Cloud. Import and combine single or multiple XMP files with your video assets using the Prelude CC Unassociated Metadata workflow. See it in action.
- Export clips, subclips and rough cuts — Send clips, sub-clips, and rough cuts directly from the Prelude CC project panel to Adobe Media Encoder CC for quick and efficient export of your logged assets.
- Export Marker List – Export printable lists of markers for quick review and reporting on logged assets in your Prelude CC project. Export in either CSV, easy for excel, or in HTML, an easy to read format with thumbnails. Easily allow Producers to provide editors with a simple, easy-to-read shot list and comment marker sheet.
- Expanded XMP Support – Capture and use the richest media possible, faster. With added support of new formats such as GoPro, continue to ingest and log your preferred footage in its native file format, enabling greater control over the creative process.
- Still Image Support – Import Still images into Prelude CC projects to organize, use in rough cuts, and for streamlined ingest into Adobe Premiere Pro CC.