PremierePro

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

Adobe Premiere Pro CC (7.1), October 2013

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:

    1. 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.
    2. 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.
    3. In/Out Ripple Delete: Ripple Delete works on in/out ranges not just selection
    4. Add Keyframe Shortcut: An Add Keyframe keyboard shortcut.
    5. Toggle All Target Shortcut: Ability to toggle target all tracks on and off at the same time.

TAGGED AS:

This is probably the best Premiere upgrade EVER! (IMOO) I’m most looking forward to the link between Premiere and Speedgrade. Previously, the transfer process between Premiere and Speedgrade was incredibly slow and frustrating. Now it’s going to be how it always should have. Additionally, the support for CinemaDNG is just icing on the cake! I’m really getting excited! Glad to see my cloud subscription paying off!

Awesome Sauce

Cheers!! Finally Adobe listened to the request and keeps improving the softwares.!

As an Avid editor… slowly all the reasons to keep using Avid are slipping away. First came Adobe’s trim mode offerings… then came dupe detection… now comes timecode overlay via Adobe Media Encoder, and ability to display filenames on screen…

All the little holes are getting plugged. Give me project stability that rivals Avid, and it will only be a matter of time until broadcast shifts over.

eemm..this cc..my friend said its the new monthly payment system? couldn’t I just purchase a set like previous build? I really didnt like the feel of not having something and just renting stuff.. -.-

When will you make it easier to work with closed captioning in CC.

    What do you find difficult? There are significant Closed Captioning features in CC and ease of use was one of our primary goals.

      For me, what’s really missing is support for editing closed captioning in the timeline. I find myself copying time codes from timeline to closed captioning editor. Also, it would be great if I could export to a closed captioning file without rendering the video. Finally I would like to be able to render captions into a video export with control over font, color, size and positioning.

I love the link between SG and PP. However, still no rulers in PP?

    Not sure what you mean, we have time rulers?

      Perhaps he means rulers on the monitor to allow setting guides – as in Photoshop and AE, etc?

      I agree I want some rulers… Not time rulers per say, like layout rulers you can drag and over the viewer or composition windows. Just like in all of the Adobe programs where you layout graphics.

      Maybe he’s referring to rulers (grids and snapping) for placement of assets, like you find in Illustrator and/or Photoshop. I’ll +1 that! I just read someone asking about that feature, also, today on the Premiere forum.

“There are significant Closed Captioning features in CC and ease of use was one of our primary goals.”

Al, being able to do HD captioning would be really great.

But I agree, the captioning in CC is solid….maybe they meant CS6

I do not see support for Canon DNG file sequences being imported into Premiere Pro CC. I have the latest updates applied to all the Adobe apps and it still does not import DNG files.

Will SpeedGrade now work with Blackmagic Design Video Cards for monitoring like Premiere/Ae does?

I shoot 5d mark iii raw video utilizing Magic Lantern’s RAW module. I have found that ACR blows away everything else when it comes to recovering highlights / shadows on DNGs (or CDNGs).

Question(s) concerning the new RAW support:
Are the existing plugins going to be able to handle CDNGs much like ACR?
Are we going to be able to pull up ACR within Premiere Pro or will SpeedGrade be the place to go to color correct your RAW footage?

I am very excited for this release and I hope Adobe nails it!

With improvements like this it really solidifies my decision to get a cloud subscription and continue to support Adobe.

Thank you to the entire Adobe team for continuing to update this awesome program. Many great new features on the way! However, would you mind showing a list or a link to a list of all the bugs that were fixed in the upcoming update? There are several issues with Warp Stabilizer and Auto-Saving (cross-platform issues), Light Appearance issues, Source Patching, and a few others that continue to slow down our company’s workflow. We’re always excited to see the new features, and these new ones are great, but I’m even more eager to know what’s been fixed.

I am so proud to be an Adobe subscriber! Just a few months ago I sent in a feature request for metadata display in the monitors and now it’s becoming a reality!

Will we ever get Encore CC or do have to continue using Encore CS6? I love all the new upgrades but all of my clients still want a hard copy of their projects and most of them distribute on DVD!

Great improvements!!!! Some really amazingly helpful new features. Thank you Adobe! Any idea on where we might be able to see a list of bug fixes that accompany this release? There are several areas (warp stabilizer, auto-save, drag/drop and source patching, and the light appearance) where Premiere Pro CC has issues that I’m hoping will be fixed. Thank you all!

    sorry for the double post…you can delete this one.

what bit rates are supported for cinema DNG files?

Congratulations. Premiere Pro is getting really better. The improvements seems to be very good. BUT as long as you can not choose between Creative Cloud and a stand alone software to buy Adobe is no alternative to Avid or DaVinci Resolve. The short time for updates are over in one year, the price is getting higher and you can not leave the Creative Cloud because you do not own any software. You are unable to open any recent project when you decide to leave CC and you are forced to pay month for month. Sorry Adobe. Creative Cloud – never.

This update is great news! These things will really help me work faster and more efficiently, e.g. the speedgrade link or the info overlays. I just worked on a 4 camera multicam project and wished I would have been able to easily see source clip timecode for the multicam tracks. I would have filed a feature request but you were faster this time, wow!

Only thing I wish will get fixed soon is proper OMF export! My projects are being mixed at another house which requires OMF files and Premiere doesn’t export automation properly. It only works if there are at least two volume keyframes in each changed clip. If you use the clip mixer to adjust a clip’s volume and set no keyframes or just one keyframe the voulme for that clip will not come across correctly to the OMF file – it will remain unchanged! You can check this with Audition’s OMF import. I filed a bug report some time ago and hope that this will be fixed soon.

Apart from that many many thanks for listening to editors and providing so many useful workflow features!

Totally awesome! Keep it coming Adobe and THANKS for listening to us and working to bring features and enhancements to us that we ask for!

Seeing all these updates is fantastic! Applause Adobe :)
There is only one little thing I’m still missing since ever I moved over to PP back a while and to CC when it came out: Why is PP displaying a black frame at the end of a sequence? Name all the other big NLEs, they all show you the last frame in the seq in the pgm monitor (when CTI is at the very end of the seq).
It just makes sense to see what you are cutting to. I know that there’s black when I’m at the end of the sequence, show me what I need to see!. When editing news for example it is so essential being able to judge if your current shot is a good choice. I cannot make that decission when all I get is a black frame… ;)
Meanwhile I wonder if I’m the only one missing this little “feature”? ;)

Cheers!

    I agree upon that. It sounds like a little feature but it is very useful to be able to see the last frame of a sequence.
    Cheers

Why not improving Warp Stabilization Speed and Project instead of new gimmics?

Why not improving Warp Stabilization Speed and Project bloating instead of new gimmics?

This stuff just keeps getting better. My only gripe is with Audition. I wish Adobe could integrate Audition into Premiere. It would be a much smoother work flow if I didn’t have to jump out of Premiere to Audition with its strange interface. I would feel better if the time lines looked and worked similarly at least. Audition works well, hate the way it looks.

Just a constructive comment: though not mentioned here, part of the exciting October 2013 CC upgrades is an upscaling function in After Effects CC. Following in the footsteps of Warp Stabilizer that used to be an After Effects-only effect, it would be great to receive compatibility in Premiere too instead of needing to use Dynamic Linking.

How about allowing the Multicamera Angles and the Program Monitor to occupy SEPARATE windows for all too obvious reasons:
Separate windows =
1. independent sizing of each
2. independent positioning of each
3. would allow users to preview a multicam edit in Full Screen Mode on a second monitor, live, during the edit!

The fact that camera angles and the Program monitor are crammed together in the same window, thereby removing all possibility of the three points above, makes ZERO sense and is a huge, massive PITA. This needs to be fixed! IMHO, old features should be fixed before new features are added.

If I could buy it instead of renting I would use it immediatly.

I am hoping this release will address the Premiere CC missing presets problem we experience with enterprise deployment. If we install with a single user Adobe ID, Premiere functions normally. But any attempt at Enterprise deployment results in Premiere being active but required presets missing. Enterprise deployment of Premiere CC results in only a partial Premiere activation.

I am looking at these upgrades and you’re talking about closed caption on the new cloud. Does that mean that I can transcribe my script and put closed caption in my project and it encodes it to a MPEG or Quicktime format for closed caption broadcast? Do I have to have any other plugins for this procedure?
Thank You Mike.

The update looks great and is much necessary regarding DNG files. However, I live in Ecuador and CC is not available here. Please make the update work also for cs6 users, or alternatively include more countries inside CC.

Have you improved the dynamic link between Premiere and After Effects over what was in CS6? I want easy, direct access to titling and fx I create in Premiere once I get into After Effects. I understand that’s tough for third party plug ins. It should be a perfect handshake for the titling tool and anything else I do in Premiere that is in the basic program. I feel like i have to start from scratch with titles and key frames. I can take a project pretty far in Premiere and then go into After Effects and feel like I’m loosing a bunch of my work.

After 8 great years on FCP i am making the switch. I have been doing projects in both Premier Pro CC
and FCP X. At this point PP is winning. I feel way more confident inPP. The one thing that gets me is when I have to import a sequence or project instead of having multiple projects open. I am getting use to it, but still would be nice to just open the other project you want and choose and pick want you need as you go instead of all or nothing. Other wise PP is for me most of the time.

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