PremierePro

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

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Video Production in an UltraHD World Premiere Pro CC & the GoPro CineForm Codec

UltraHD is here to stay as more and more consumers demand content that makes them feel like they are part of an experience. Some analysts think that by the end of 2018, 10% of American households will have 4K capable TVs and by the end of 2024, that number could reach 50%. That means that it’s up to us, as content creators, to start getting comfortable with editing in 4K, 5K—or even 6K—to create Ultra HD content to meet this increasing demand.

The tools we need to shoot, edit and distribute this content are more important than ever. And, because it is not uncommon for a project that just took a few days of shooting to result into 1 to 2 terabytes of hard drive space, these big files need powerful software–not to mention bigger hard drives–that can edit the footage without choking.

GoPro read more…

A note on Premiere Pro CC 2014.1 project files

Many of you will have noticed that when you attempt to open project files from a previous version in Premiere Pro CC 2014.1, you are prompted to convert to a new project (though the original project is not modified and remains on disk). A result of this is that projects saved in 2014.1 cannot be opened in previous versions of Premiere Pro.

 

Premiere Pro CC 2014.1 brought multiple new features to the application, and as a result, it was necessary to upgrade to a new project version. Please be aware of this compatibility issue if you’re collaborating with users who have not yet upgraded.

 

You can always reinstall previous versions from the Creative Cloud desktop application by using the ‘Previous Version’ filter. While there is no way to save a project from 2014.1 so that it can be opened in older versions, you can export an XML which can be imported by the older installation.

How the Gone Girl post-production team helped us deliver better features in Premiere Pro CC

I’ve been the product manager for Adobe Premiere Pro for four years and have never been more excited to work with our product teams and customers as I am now. Most of you know by now that Premiere Pro CC was used as the exclusive NLE for David Fincher’s Gone Girl, the first Hollywood feature film shot in 6K. While you may already know how Premiere Pro helped the Gone Girl team work more efficiently, you likely don’t know how us working with the Gone Girl post-production team helped us build a better product.

GG_PPro read more…

Bugs fixed in Premiere Pro 2014.1 Release

Alongside the many new features in the Premiere Pro 2014.1 release, a great deal of known issues and bugs have been addressed. The following is a list of the key issues resolved. Many thanks to Mark Mapes for his hard work creating this list, which is arranged by functional area of the application.

 

Import

  • Import of CinemaDNG clip fails if the file has been renamed.
  • Gamma shift in some re-imported QuickTime IMX clips
  • Some QuickTime Reference files import without timecode.
  • Indexing of XDCAM clips can take an excessively long time, footage shows Media Pending until indexing completes.
  • XAVC-S files import without Timecode
  • Unable to import certain XDCAMHD 422 Long-GOP clips with Pixel Aspect Ratio of 0.7500 MXF
  • Spanned XDCAM HD422 clips not handled correctly if the clip names do not follow the normal convention
  • When a sequence is loaded from Media Browser to the Source Monitor and then inserted to a sequence without explicitly importing, two copies of the sequence are added to project.
  • Scaling values are not properly handled for clips/sequences imported via an XML file written by some shot management and conforming programs
  • If the reported duration of an XDCAM HD MXF clip shorter than the actual length in the file, then frames outside the stated duration can be accessed.
  • Some XAVC and XDCAM-IMX-MXF clips have audio noise introduced on playback
  • Some .mp4 have green frames and ‘static’ garbage when played in Source Monitor
  • Canon XF300 Footage has unacceptable performance for playback
  • .mp4 clips generated by certain transcoding programs exhibit poor playback performance
  • PPro no longer recognizes timecode from a .qtc file, referenced from within a QuickTime reference movie.
  • Some XDCAM422 clips fail to import with generic error
  • Occasional crash on opening Source Settings for DNG footage, with 2nd monitor enabled
  • Overexposed white areas in some CinemaDNG footage display magenta artifacts.
  • When scrubbing C300 clips in Project panel’s Icon view, red frames sometimes show and Event panel reports error decoding frame.
  • If SpeedGrade was installed before Premiere, then double-clicking a prproj file launches SpeedGrade (Mac Only)

Growing File

  • The last frames of some growing file are green. Must relaunch Premiere to correct the problem.
  • Importing a growing file can take an exceedingly long time, with footage showing as Media Pending
  • When a growing file refreshes, it stops voiceover recording
  • The incorrect timecode is shown in the Timecode Panel for growing files.
  • Timeline playback of growing files drops audio for about 1 second each time the growing file refreshes.
  • QuickTime reference files for growing files fail to import.

 

Export

  • When source is 120fps, export fails if Match Sequence Settings enabled
  • The Advanced XDCAM Settings section in Export Settings is blank for imported XDCAM presets
  • In QuickTime encodes, audio exported as uncompressed stereo imports into FCP as dual mono.
  • When you export to 5.1 AAC with the “Import into Project” option enabled, the resulting clip fails to import, throwing
  • “File import failure”
  • Image flicker is introduced in some constant-bitrate MPEG2 encodes
  • When the only variable blocking smart rendering is an adjustment layer, the effect(s) thereon are ignored and the segment is smart rendered.
  • ProRes media encoded by Premiere causes are not compatible with certain video QC programs.
  • AAF export: 88.2kHz and 96kHz audio clips exported to AAF do not appear in some audio production programs.
  • Audio EDL gets wrong source timecode if clip is nested or part of a multicam source sequence
  • EDL does not give correct Source In and Out for clips with speed reversed.
  • EDL does not give correct source in and out on reversed clips.
  • OMF export fails with some multicam sequences, reporting Audio Export Failure.
  • Hang during OMF export when the sequence contains a 5.1 audio track/clip.
  • Smart rendering can introduce black and red frames

 

Playback

  • Playback of IMX 50 clip freezes after 12 seconds.
  • With XDCAMHD and DVCProHD footage, frames are sometimes dropped though the render bar is green.
  • Audio for some mp4 files plays back at double speed
  • When pre-roll is set to 1 frame, timecode and video of XDCAM .mxf files are out of sync
  • Some DNxHD do not decode properly, resulting in frames being played out of order
  • Performance of playback for some QuickTime is poor because they are unnecessarily falling back to QT32
  • Dropped frames when playing R3D clips with RocketX enabled and Playback Resolution at ¼

 

Audio

  • With Maintain Pitch enabled, no audio when playing at slower than real-time
  • Solo buttons in Audio Meters do not work for clips loaded into the Source Monitor
  • Mono and Standard track puck and tray panner routing for Ls, Rs, C and LFE channels do not adhere to ITU-R BR.1384 standard.
  • Occasional crash on switching a clip from mono to stereo via Modify>Audio Channels
  • 1 channels are not properly mapped for some Dolby content.
  • 1 clip changes to a 6 mono channel clip when “Extract Audio” or “Edit in Adobe Audition>Clip” is performed on a project item or track item.
  • Changes to Frame Rate via Interpret Footage are sometimes not applied to saved for all audio streams, causing most audio channels to be out of sync after closing/reloading project.
  • Constant Power audio transitions introduce buzz if either track item has zero channels (generally limited to multicam clips)
  • Crash on applying changes in Modify Audio Channels dialog [Mac Only]

 

Project panel

  • Sorting by Duration is broken if the column has been moved during the current session
  • If the Project panel is filtered via Rapid Find when a bin is created, the edit control for naming the new bin does not become active automatically, and it cannot be activated manually until Rapid Find is cleared.
  • Project items cannot be deleted or renamed if the list view is scrolled to the right.
  • Project panel does not autoscroll to the left when a column is dragged to the right side of the Name column
  • When a timecode value is typed in the Video Out control for a clip in the Project panel, the value gets reduced by 2 frames upon committing the change

 

Subclip

  • When a soft subclip with only an Out Point set is edited into a sequence, the Subclip Start is ignored; the resulting track item extends all the way to Media Start.
  • The Media Start/End and Subclip Start/End times for subclips from a merged clip are incorrect

 

Editing/Timeline

  • 3-Point edit: If the source is a sequence and only an Out Point is set for the source, the wrong segment gets inserted when KEM Roll is set to Insert as Individual Clips
  • Keyboard trim commands do not affect clips on targeted tracks that are outside of visible area of in the Timeline
  • Switching between sequences can turn the render bar red.
  • Frame Hold option doesn’t generate the freeze frame when speed change is in effect
  • In the Timeline, the FX badge gets hidden when the clip is not wide enough to show the full clip name.
  • If the Left/Right Balance control is displayed in Timeline header, the balance will change if the mouse strays over the Header region during click-and-drag operations in the Timeline (such as trimming out)
  • ‘Select In to Out’ selects clips on locked tracks.

 

Multicam

  • If a multicam sequence’s audio is 5.1 or adaptive, then flattening deletes the audio.
  • If time-remapping is used on a Multicam Source Sequence, the Program Monitor’s multicam view continues to play at 100%; if source sequence was slowed, the Composite view goes black after the original end point.
  • When a multicam source sequence has been slowed down via speed change or time remapping, the extended of the clip goes black—no video
  • If the audio in a multicam sequence is selected when it is flattened, the audio is sometimes deleted.
  • Disabled multicam source clips are sometimes rendered to the composite output
  • Flattening multicam can remove some audio clips from the sequence.
  • Flattening a multicam sequence with reverse speed applied results in incorrect frames being used
  • The camera can be changed for a multicam clip on a locked track.
  • The overlay displays timecode in audio time units for part of a multicam sequence if the source clips are stereo and the MC sequence is mapped to mono
  • If a nested multicam sequence’s duration has been increased via Time Remapping, then upon reaching the original end point during an editing pass, the composite view restarts from beginning
  • Crash on flattening multicam clip with keyframed scale when using a camera angle that does not start at time zero.

 

Effects

  • AE Text Template] When text fields are active for editing, they’re not being visually highlighted
  • Adding mask points very close to each can result in the ordering of the points being incorrect
  • Incorrect scaling of 1920×1080 adjustment layers in 720 sequences
  • Unexpected behavior with Cross Dissolves between Adjustments Layers.
  • Applying both Echo & Levels effects to an adjustment layer causes video playback to freeze
  • Crash on rendering previews for a Lumetri filter in Software-Only mode.
  • Crash on deleting a clip from a sequence after pasting an effect mask to the clip.
  • JPG frame sequence gets scaled down if an adjustment layers is in effect above it [OpenCL only]
  • Rename GoPro lens distortion presets to include the camera name
  • Clip name effect doesn’t work correctly if Source Track is set to a different track.
  • Crash on using Clip effect or Timecode effect on a transparent video.
  • Crash on loading or applying VST Effects (Mac only)
  • Intermittent Crash with Warp Stabilizer applied (AEVideoFilter)
  • The Clip Name effect does not work when applied to a transparent video track item, with Source Track set to a video clip.
  • Crash on applying audio transition to clips with overlapping timecode
  • Previewing fails when an adjustment layer has an animated mask applied to Opacity and any other video effect.
  • In Software-Only mode, rendering previews of the new Cross Dissolve is slower than the old one.

Effects, Masking and Tracking

  • Shift-dragging a control point for an effect mask sometimes yields unexpected results
  • If a clip has an effect with a mask applied, moving the clip in the Timeline cause rendered preview files to be lost.
  • Previews rendered to a P2 codec are incorrect for the first 10-30 frames of an Opacity effect with mask applied
  • If a mask is applied to a GPU accelerated effect on an adjustment layer, the Program Monitor shows a cropped frame with Playback Resolution at Half and goes completely black at Quarter.
  • Opacity effect on Adjustment Layers fails to render within the mask with tracking.
  • After rendering an adjustment layer with multiple effects with masks applied, some of the effects are no longer confined within the mask [Mac only]
  • Crash on opening some projects with masking and tracking applied to effects
  • Direct Manipulation control fails to switch between multiple masks that are applied to the Opacity intrinsic effect.

Effects, 3rd Party

  • Certain audio filters cannot be applied to a clip in a sequence that is imported via XML
  • PPro reports audio filter missing when opening a saved project with certain audio filters applied to the clips in a sequence that was imported via XML
  • Artifacts are introduced when using certain 3rd party transitions.
  • Certain 3rd party stabilizer plug-in are not working

 

Markers

  • On mouse-up after adjusting the Out point of a marker with duration, the playhead jumps to the marker’s In point.
  • Video in Program Monitor strobes when dragging the In or Out point of a sequence marker

 

GPU

  • With GPU acceleration enabled, Gamma is being applied to some RAW media when it shouldn’t be.
  • Basic 3D effect can result in Program Monitor’s video overlay to become corrupted on some GPUs

Performance (Note: Most of these fixes are also listed under a product area)

  • Locking all Audio Tracks can significantly impair performance.
  • Performance of playback for some QuickTime is poor because they are unnecessarily falling back to QT32
  • Dropped frames when playing R3D clips with RocketX enabled and Playback Resolution at ¼
  • Navigating through projects in multiple Media Browser panels impairs performance and can culminate in a crash
  • In Software-Only mode, rendering previews of the new Cross Dissolve is slower than the old one.
  • Canon XF300 Footage has unacceptable performance for playback
  • .mp4 clips generated by certain transcoding programs exhibit poor playback performance

 

Interop

  • Crash on selecting Edit>Edit in Adobe Audition>Sequence…
  • When a 5.1 clip is sent to Audition via Edit Clip In Adobe Audition, the first channel is used for all channels.
  • Exporting from Audition to Premiere Pro opens Premiere, but the file fails to import
  • After grading a sequence in SpeedGrade, Premiere regenerates index & pek files

 

Miscellaneous

  • With some capture card hardware, captured uncompressed clips have the wrong field order
  • In the Overlay Settings dialog, the Track control is not properly constrained by the Property control.
  • A single preference flag is used for the “Import into Project” setting in the Export Settings dialog and the Export Frame dialog; they should be managed independently.
  • Custom scratch disk location for Video and Audio Preview folders get’s reset to default, “Same as Project File”
  • Changes to the label color cannot be undone.
  • In the Usage lists, all instance are ordered by track item start time; should sort by Sequence Name first, then by track item start
  • Automatic relinking fails in certain cases when the name of a folder in the relative paths are too similar. [Mac only]
  • With OpenCL GPU acceleration and Transmit enabled with some 3rd party I/O cards, the video on the output monitor is corrupted
  • Newly created projects sometimes have multiple Project Panels open.

 

 

Premiere Pro CC 2014.1 Release

Today we’re thrilled to announce the release of all-new versions of Adobe’s creative products, including the video and audio applications, which we previewed last month at IBC. You can find these releases in your Creative Cloud application later today (and if you don’t see them, just try quitting and re-launching).

 

The Premiere Pro CC 2014.1 release contains multiple new features and enhancements, including Search Bins, Timeline Search, Multiple Project Workflows, a new Source Monitor timeline view, and Consolidate and Transcode. It also sports improvements for Masking and Tracking and Master Clip Effects, and improved audio workflows such as more robust AAF export. For details on these features check out the blog post from last month, or the quick overview video.

 

This release also includes many other features designed to further streamline your editing workflow and let you work faster and more productively. A complete list of features not listed in the original blog post appears below.

 

  • 4 font size choices for the Project Panel list view
  • A new metadata column has been added to the Project panel for Field info
  • Preference for label colors and clip names to update all instances and stay in sync
  • Sequence timecode can be displayed in the Program Monitor overlay
  • Audio timecode can be shown in the overlay for multicam clips
  • 1 audio channel layouts adhere to ITU-R BR.1384
  • Preference to display the end of sequence indicator
  • Preference to write markers to the project file or media files
  • ‘Discrete’ multichannel QuickTime exports
  • “Send To Audition” rendered files are now stored next to the originals
  • Alignment options were added to the Clip Name effect
  • Scaling beyond 600% is supported
  • The Timeline In/Out range now uses shading to indicate track targeting
  • 16-channel AS11 outputs are supported
  • Keyboard shortcut to join all through-edits in a sequence
  • Marker colors are now assignable
  • iXML is supported from audio location recorders
  • Source Settings are available for Blackmagic CinemaDNG media
  • The Timecode effect now displays all source clip timecodes in Multicam Source Sequences
  • Improved OMF export
  • The Effect Control Panel remembers which parameters were expanded on subsequent use
  • Exposed “Copy to Clipboard” in Keyboard Shortcuts dialog
  • Export Frame default file name now includes the frame number of the original clip it came from
  • Multiple sequence markers can be selected and moved together
  • XMP metadata is now supported for all media file types
  • Multiple mask control point selection
  • Bezier pen tool for drawing irregular mask shapes
  • Direct manipulation control on mask outlines for feathered edges

 

 

 

 

 

 

Adobe Media Encoder CC update (2014.1) available today

The Adobe Media Encoder CC (2014.1) update will be released today. This update includes new features, enhancements, and a number of fixes. The new features are detailed in an earlier IBC 2014 preview post you can read here http://adobe.ly/1qtT2BU . Two new feature, XAVC presets and AS-11 DPP have been added since IBC. See below for a list of all the new features and fixes.

 

Downloading Media Encoder CC (2014.1)

 

The 2014.1 update is expected to be available to Creative Cloud members by the end of the day. Download Media Encoder CC (2014.1) via Creative Cloud for desktop, or online through your Creative Cloud account.

 

Please note that as of the 2014 release, Media Encoder CC now has its own installer. That said, installing updates to Adobe Premiere Pro CC (2014 and later) will trigger the Media Encoder CC installation.

 

Adobe MAX 2014 announcements

This update is part of a series of new releases across all of the Creative Cloud desktop applications, as well as new and updated mobile apps, including Adobe Premiere Clip, a brand new iOS app which makes it easy to turn footage on an iPhone or iPad into great-looking videos. Details of the wider release will be presented today at Adobe MAX 2014, the world’s leading creativity conference.

 

 

Media Encoder CC (2014.1) New Features

 

Refined user interface with HiDPI support

Updated color scheme with flatter icons and support for HiDPI displays, including Mac Retina and Windows 8.1 systems.

 

Destination Publishing

Render and deliver content to FTP sites or local Creative Cloud folder. Send to multiple locations and track rendering and upload in the same panel.

 

Watch folder support for projects
Watch folders now support rendering for Premiere Pro, After Effects, and Final Cut XML project files.

 

Extended Match Source support

Match Source support has been extended to QuickTime and MXF OP1a formats, including those using DNxHD codecs, which are in an MXF wrapper.

 

Rewrap functionality for MXF OP1a formats

MXF OP1a formats, including those using DNxHD codecs, now include encoding presets.

Multiplexing during encoding
MUX video and audio into a single MPEG2 file while encoding (instead of after the encode is complete.

Extended DCP support

Output 25 fps content in Digital Cinema Packages.

 

Extended Sony XAVC support

XAVC support now includes both VBR and CBG bitrate support for 2k and higher resolutions

 

GoPro CineForm intermediate codec support

Encode and decode movies using the GoPro CineForm codecs on both Mac OS and Windows.

 

16-channel AS-11 export

Export AS-11 content with 16 channels of audio.

 

AS-11 DPP – added since IBC Preview

Read and write AS-11 DDP compliant content packages

 

XAVC Presets – added since IBC Preview

While Media Encoder has supported XAVC for some time now, there had not been any presets available within the application. AME now includes presets for some of the more popular XAVC settings.

 

 

 

Media Encoder CC (2014.1) Bug Fixes

 

  • Fixed: Dolby exports were not able to run in parallel.
  • Fixed: When projects were imported natively, there was no progress status during the conforming process.
  • Fixed: YouTube HD presets had a level that was too low for high framerate sources.
  • Fixed: The “Use Previews” option wasn’t available when creating presets in the Preset Browser.
  • Fixed: Timecode in timecode overlay would drift slightly when using OpenCl.
  • Fixed: Advanced XDCAM settings in the Export Settings dialog were missing.
  • Fixed: Smart rendering some sources would result in black or red frames.
  • Captions options were unavailable even though a source file had valid captions.
  • Fixed: Issues where smart rendering spanned CanonXF media would fail.
  • Fixed: Captions options were unavailable even though a source file had valid captions
  • Fixed a number of issues where effects were not being consistently applied to exports

 

Notes on pricing and availability

Today’s updates to Creative Cloud are expected to be available to Creative Cloud members by the end of the day as part of their membership at no additional cost. The new and updated mobile apps are free to everyone. More information will be available later today at: http://www.adobe.com/creativecloud/catalog/mobile.html.

 

To join Creative Cloud, special promotional pricing is available to customers who own Adobe Creative Suite 3 or later. Membership plans are available for individuals, students, photographers, teams, educational institutions, government agencies and enterprises. For pricing details, visit: https://www.adobe.com/creativecloud.html#buy.

Announcing the next release of Adobe Premiere Pro CC 2014

Adobe’s professional applications continue to evolve at a blistering pace, and today we are thrilled to be announcing new features coming soon to the next release of Adobe Premiere Pro CC 2014, which is accompanied by announcements of all other video and audio desktop applications including Prelude, After Effects, SpeedGrade, Media EncoderAudition and Adobe Story Plus. For an overview of the top new features for Adobe Pro Video check out the Creative Cloud blog – or reference our data sheet for more specifics.

 

All of the video applications feature a refined user interface, with new support for HiDPI displays on the Windows platform, accompanying the existing support for Apple Retina displays.

Premiere Pro boasts several new media and project management features to speed up workflows, especially when working across multiple projects and collaborating with others. New Search Bins allow editors to build new bins automatically, based on metadata searches within a project, with results showing as aliases of the original project items. An advanced Timeline Search makes it simple to find and select clips within a sequence based on specific criteria such as Clip Name or Marker comment. Significant and powerful improvements have been made to Multiple Project Workflows - multiple Media Browser panels can be open simultaneously, allowing fast browsing of other Premiere Pro and After Effects projects for easy access to their media and sequences. And the new Source Monitor Timeline View allows editors to preview sequences from other projects, getting direct access to their components to quickly bring into the current active project. Editors collaborating over shared storage will find working with each other’s projects is now a great deal easier.

When you’re ready to archive or move a project, Consolidate and Transcode is there to help.  Consolidate and Transcode converts sequences or an entire project into a single codec, while retaining the ability to make edit adjustments later, and leaving original projects untouched. Render and Replace enables quick timeline renders of clips and dynamically linked After Effects composition, with the ability to return to the original media or comp at any time. And full encode/decode support for the GoPro CineForm codec offers Premiere Pro users a new, cross platform intermediate codec, with full support for alpha and large frame sizes of 4K and beyond – an excellent choice for workflows where transcoding to a well-performing intermediate codec makes sense.

Premiere Pro continues to be at the forefront of Ultra HD and 4K workflows, and now offers support for the AJA RAW format from the new AJA CION camera. As 4K RAW productions continue to increase and editors demand the best performance possible, Premiere Pro’s GPU optimizations also grow – this release sees GPU debayering for Phantom Cine and Canon RAW, alongside existing support for RED and CinemaDNG, for amazing playback performance.

Two of the major features from our June 2014 release also see major improvements. Masking and Tracking now offers performance improvements. a free-draw polygon pen tool, and easy, on-screen Bezier adjustments, with feathering and expansion now accessible directly from the monitor. And Master Clip Effects are enhanced, featuring indicators in the timeline to quickly see if a clip has a master clip effect applied, and improved navigation between sequence clip effects and master clip effects.

Audio workflows are also given a boost in the next release, with improved Send To Audition and enhancements to AAF export for workflows requiring integration with digital audio workstations. And of course, there are many other features and fixes in the release, with more information coming soon.

Adobe continues to develop the tools you need to stay creative while keeping up with the ever-changing video and broadcast industries, and we hope you’re as excited by the next wave of innovation in our creative video and audio desktop applications as we are. Stay tuned for more information.

If you can’t attend IBC in Amsterdam – be sure to keep up with all that’s going on with Adobe Pro video at the show on our dedicated Adobe Pro Video YouTube playlist!

Visit the Creative Cloud video page for links and news from Adobe at IBC 2014 from September 12–17.

Adobe Premiere Pro CC 2014.0.1 Update

Today we are releasing an update to Premiere Pro CC 2014. This version (Premiere Pro CC 2014.0.1) provides important fixes and enhancements to the editing experience, and is recommended for all users.

Users can install this update directly from the Creative Cloud desktop application.
A list of notable changes in this release appears below.

Bug Fixes:
• ‘Async’ asserts could occur when exporting some file types
• Incorrect angles could be shown when separate multicam clips were created with different sort order
• Waveforms could be improperly drawn when nesting a multicam source sequence
• Effects could fail to render within effect mask boundaries
• Garbage could appear around the edge of a layer that had a blur video effect applied and a mask on Opacity
• Masks could offset Gaussian Blur in CUDA mode
• Attempting to move a column to the left of the Name column in the Project panel could break cell selection
• Occasional instance where sequences could never finished rendering
• Relinking to spanned MXF clips could be incorrect
• UI responsiveness could reduce in large projects after relinking
• Exporting merged clips could generate silent or missing audio
• Importing sequences could sometimes fail
• Incorrect timebases could be used on EDL export
• Incorrect field display could occur when using Mercury Transmit with GPU acceleration
• Audio presets were sometimes not working correctly if used with a different format container
• Complex video assets could produce a blurry image every 1 second when encoded into H.264
• Mask Expansion could not be rendered correctly during preview scrubbing on layers that were scaled to 50% or less
• Applying a speed change to a multicam clip could cause the extended duration of the clip to play with no video
• Merged clips that contain clips with sync offsets could display out of sync indicators when used in a sequence
• Crashes could occur during export to QuickTime.
• Masking and Tracking: Brightness & Contrast could be incorrectly displayed in an Adjustment Layer
• File import failures could occur when no assets were selected in the Locate Media dialog
• Asserts and crashes could occur when exporting project to OMF
• Crashes could occur when rendering audio with a locked submix track
• Submixes could sometimes lose audio
• Noise could be heard in submixes with empty tracks
• Source monitor timecode and program monitor overlay could be off from one another in multicam sequences
• Audio overlays for Multicam and nested sequences would only display as audio time units.
• 24p/50p XDCAM EX files were sometimes 1 frame short when smart rendered
• MPEG2 TS files with 6 tracks of stereo audio could only play/show first stereo track when imported in to PPro
• Playing IMX 50 clip could freeze video
• Locking all Audio Tracks could cause the system to slow down dramatically

Editing Enhancements:
• A Codec column was added to the Project Panel
• Sequence Timecode was added as a display option in the Monitor Overlays
• Clip name and Timecode filters can now be set to reference and display information for clips on specified source tracks.

Premiere Pro and Mac OS X 10.9.3

UPDATE: Many users are reporting that the recent release of Mac OS X 10.9.4 has resolved these issues.

We are aware of an issue affecting users of Adobe Premiere Pro and Adobe Media Encoder on Mac OS X 10.9.3, where exports using the GPU can display unwanted artifacts. We are currently working with Apple on a fix, but unfortunately cannot yet estimate a timeframe for this. If possible, we recommend that users stay on OS X 10.9.2; if the upgrade has already been installed, then the current workaround is to disable the GPU during export.

Today’s the day!

Back in April for NAB, we revealed many of the new features, integrations and workflows the Adobe Pro Video team have been working on.  The response from the community was overwhelmingly positive and we’ve been very excited to release all the new stuff into the wild – and today’s the day!  But above and beyond the features in Premiere Pro, After Effects, SpeedGrade, Prelude, Audition, Adobe Media Encoder and Adobe Story, there’s been so much more innovation happening around Adobe that’s also launching todayand we’re confident it’s going to result in a more connected, more innovative world of New Creatives and storytellers.

In the Adobe Creative Cloud, everything new is new again and not just for the creative professional but for all; the individual, teams, students and teachers, and the enterprise. The 2014 Creative Cloud release introduces more Adobe magic, expanded support for cutting edge technologies, and an even more connected creative experience. Along with industry-leading creative tools, like Photoshop and Illustrator, Creative Cloud delivers a complete filmmaking toolkit for established professionals and aspiring artists alike. Best-in-class apps like Adobe Premiere Pro CC and Adobe After Effects CC empower today’s content creators by connecting the dots in the production pipeline, and allowing them to deliver brilliant work for the web, broadcast, and cinema.

CCpic

 

New to Creative Cloud in 2014:                                                                                    

Innovation: Creative Cloud enables a faster pace of innovation in Adobe’s desktop and mobile tools, services, and technologies, by allowing teams to focus on quickly iterating on and releasing new features and updates. It also provides a model, which allows Adobe to share that technology with the broader creative community.

Connected Creativity: Connected Creativity refers to the ongoing reinvention of the creative process, driven by expanding online access, growth of device usage, and changing expectations of how individuals work and interact with one another.

This is also about the transformation of Adobe’s role within the larger creative world, from providing creative desktop applications to enabling a complete creative ecosystem that provides the tools, services, and technologies that foster creativity.

Creative Ecosystem: At the core of the Creative Ecosystem is a new Creative SDK, which opens up core Adobe creative technologies and innovations to third party mobile application developers.

Along with updates to all of the Creative Cloud video tools, the 2014 release offers brand new integration features that leverage the power of Adobe After Effects inside Adobe Premiere Pro. Live Text templates, as well as Masking and Tracking, allow editors to do more within Premiere Pro, while the full After Effects toolset is always just a few clicks away. These, along with the other Adobe video applications, provide everything video pros need to get the job done. And in a rapidly developing industry, it’s good to know that the Creative Cloud tools are always up-to-date.

Be sure to check out all the new learning content for our top new features:

How to blur a moving face with masking and tracking

Learn how to apply a feathered mask to protect a person’s identity and then track that mask as it moves across the frame in a scene.

How to use text templates from After Effects in Premiere Pro

Learn how to import a text motion graphic created in After Effects into a Premiere Pro sequence and edit the Live Text template without opening After Effects.

How to apply effects to all instances of a clip

Learn how to apply an effect to a master clip, change it, and watch the changes ripple through all instances of the clip.

Work directly with native camera formats

Learn how to take advantage of high-resolution formats from the latest cameras to achieve the best possible picture quality in Premiere Pro.

In addition, here are some of the other top new features in the 2014 release of Premiere Pro CC:

Improved Direct Link between Premiere Pro and Speedgrade

Premiere Pro is built to integrate with other Adobe production tools, making workflows simpler and faster. Improved Direct Link offers a more flexible and robust roundtrip color grading workflow with SpeedGrade CC.

Output to DCP and AS-11 content packages

Output to virtually any format, now including DCP and AS-11 content packages via Adobe Media Encoder CC. Digital Cinema Packages (DCPs) are now a standard deliverable format for film festivals, and are used for review on Digital Cinema playback systems. AS-11 is a standard for delivering digital content to European broadcasters.

Previously when using Premiere Pro, you had to render out content and then bring it into a separate DCP mastering application. DCP creation is now possible as a single step, either from the Timeline in Premiere Pro, or directly in Adobe Media Encoder CC. Note that other DCP deliverable options, such as 4K Digital, can be puchased from QuVis and accessed within Adobe Media Encoder.

Other new features in the 2014 release of Adobe Premiere Pro CC include:

• Premiere Pro now delivers a faster editing workflow with improved handling of large projects and accelerated sorting and searching in the Project panel.

• The application also offers enhanced graphics performance, with support for a wider range of GPUs, including GPU debayering for RED media and support for Intel IRIS architecture.

• Expanded native format support now also includes ARRI Amira, Sony STtP, and broader support for Cinema DNG.

• You can now Autosave to Creative Cloud for extra peace of mind— and to make your projects accessible wherever you are.

• New Typekit support makes the Adobe type library available from Premiere Pro, giving you more creative range for titling work.

For details on ALL the new features in this release of Premiere Pro CC be sure to check out our original reveal blog post.   And see below for other great video resources.  We can’t wait to hear what you think!

Learn about all the goodness for Video Pros in Creative Cloud.

An overview of this release with Premiere Pro Product Manager Al Mooney.

A deep dive into what’s new in the 2014 release of Premiere Pro CC.

A fun take on the new deeper love, ahem, integration between Premiere Pro CC and After Effects CC.

 

Tell Us Your Story

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Ask a Video Pro Webinars

Bring Color Grading to Your Editorial Workflow - presented by Patrick Palmer. This session will introduce new features and the Direct Link integration between Premiere Pro & SpeedGrade CC.
Thursday November 20, 2014 |10am PST Register


Recent Sessions

LOG and RAW Workflow & Adobe Tools presented by Robbie Carman Replay

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What’s new in Creative Cloud for video - presented by Jason Levine LIVE from IBC Show 2014 Replay

Making the Switch to Adobe Premiere Pro - presented by Colin Smith Replay

From Photography to Videography: Filmmaking Tools in Creative Cloud - presented by Terry White Replay