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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.

 

We’re here now! #TeamAdobe at #NAB2014

Today the Adobe pro video team kicks of our presence at the 2014 National Association of Broadcasters (NAB) Show in Las Vegas.  NAB is the biggest North American tradeshow of the year for us and we’ve been looking forward to this for months.

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The product teams have been working tirelessly on all the new features that were revealed last week and we can’t wait to show them to you.  If you’re coming to NAB,  be sure to stop by and say hello at the Adobe booth (SL3910 – in the Lower South hall of the Las Vegas Convention Center). Check out all the new updates at the demo pods and ask questions. We have a packed schedule  on our main stage too, where you can get presentations on what’s coming next to Creative Cloud for video and see some of the fantastic things other filmmakers, post houses, and broadcasters are doing with the Creative Cloud tools (hint: if you want to see AMC’s Walking Dead zombies, come by to see Sam Nicholson from Stargate Studios).

Speaking of customers, Meagan Keane was lucky enough to moderate a really engaging keynote panel “Breaking the Rules: The Next-Gen Content Creator” at the Post Production World last weekend where customers Ryan Connolly [Film Riot/Triune Films], Kanen Flowers [That Post Show/That Studio] and Peter Salvia [YouTube Nation] talked about the next generation of media creation and bypassing traditional broadcast outlets.  Stay tuned for more on the keynote and a highlight video coming soon.

In addition to the Adobe booth at NAB – where attendees can see all the goodness coming soon to Adobe Creative Cloud for video – they can also find Adobe Creative Cloud and specifically Adobe Premiere Pro being demoed in over 130 partner booths across the NAB show floor.   The partner ecosystem is an integral part of bringing the fastest, most powerful, most streamlined workflows to Premiere Pro customers so its an incredibly big point of focus for the Adobe pro video team.

And there’s so much more to come! The one and only Al Mooney will be presenting at the Las Vegas Supermeet later this week, and we’ll be interviewing product team members and customers. If you’re not in Vegas, we’ll bring Vegas to you – all week long. Be sure to stay tuned to the “NAB 2014” Channel on Adobe TV  for all the latest from the show!

Don’t worry if you can’t make it to NAB: we haven’t forgotten you…  We’re presenting a special Ask a Video Pro session on Thursday, April 10 at 10 am PT demoing the latest innovations coming to the Creative Cloud video apps like Premiere Pro and After Effects. Register for free for “What’s coming next in Creative Cloud for video” a one-hour overview with Q&A presented by Jason Levine.

And short demo videos of the top new features coming soon can be found here:

Premiere Pro CC Bug Fix Update (7.2.2)

Today we are releasing an update to Premiere Pro CC. This version (Premiere Pro CC 7.2.2) contains a number of important bug fixes and is recommended for all users. Please note that this release does NOT contain the extensive new features recently revealed as forthcoming; more information on when Adobe Creative Cloud members can expect to see that major update will be coming soon.

Users can install this update directly from the Creative Cloud desktop application.

A list of notable issues resolved in this release appears below.

  • Audio could drop out during playback.
  • Red frames were sometimes seen on export, particularly with XDCAM HD 422 smart rendered exports.
  • Older AMD GPUs were showing performance degradation, sometimes significant.
  • Erratic playhead behavior was observed when scrubbing in the Timeline in Mac OS X 10.9.x.
  • Rendering a sequence could cause red frames to be generated with XDCAM HD 50 clips with Preview Rendering Setting of XDCAM HD 50 NTSC 1920×1080.
  • XDCAM HD 422 QT files were sometimes not decoding properly.
  • Performance issues were seen when working with growing files.
  • The Locate Media dialog could not open with the correct location even though the “Path:” field started with a valid initial guess for location.
  • Transitions on speed-changed multicam clips were removed when flattening.
  • Multi-camera previewing could go black in Program Monitor when the selected camera did not extend to the current playhead position.
  • Timeline clips’ FX badge popup menu (Motion, Opacity, Time Remapping) could be difficult to open.
  • Multicam Sequences could move in the timeline when flattened if they had speed changes applied.
  • Source settings were not accessible from a Merged clip created from a R3D / RED video clip.
  • Smart rendering Canon XF files could result in stalls during the export
  • Transitions were erased from multi-camera sequences after flattening.
  • Some growing XDCAM files could play back with unwanted artifacts.
  • The order of effects applied to a multi-camera source sequence could reverse after flattening.
  • The display could go to energy saving mode during long periods of playback.
  • Spanned CanonXF media on an XSAN could import incorrectly.
  • Duplicate bins were created for each sequence imported from a single project.
  • Project import could take a long time if the project being imported contained offline media.
  • Occasional hangs occurred when adjusting volume in the Clip Mixer.
  • Marque selection in the Project Panel sometimes selected items in the incorrect order.
  • Double-clicking in the Project Panel when in list view could invoke the Import dialog unexpectedly.
  • Audio from P2 media could import incorrectly.
  • Export To Tape could exhibit issues if a file was growing at the same time.
  • Red Rocket failures could sometimes occur with 16:9 media.

 

 

Revealing the next major Premiere Pro CC update

As video production workflows and requirements are constantly changing and evolving, so is Creative Cloud, with regular feature-rich releases which allow creative people to stay at the very cutting edge. Today, we are extremely excited to be able to reveal the next major update of Premiere Pro CC, which accompanies reveals of all other Adobe video and audio products, including Prelude, After Effects, Speedgrade, Media Encoder, and Audition. The update will be available to Creative Cloud subscribers in the coming months.

The next release of Premiere Pro CC brings multiple features and performance enhancements designed to allow editors to work fluidly with the highest resolution media, achieving brilliant results faster than ever before, without leaving their editing environment.

Live Text Templates allow Premiere editors to work with After Effects comps containing text (such as lower thirds) making changes to the text without ever having to leave Premiere Pro. All animation and effects from After Effects remain in place, with only unlocked text fields being edited.

Also, editors increasingly need to be able to create masks and track them, often so that they can easily blur out a moving portion of a frame, like a face or license plate. This release brings full feathered Masking and Tracking capabilities to all effects in Premiere Pro, allowing editors to quickly place an effect mask over a portion of a frame, track it, and feather it. When more finesse is required, simply jump into After Effects for greater control.

Premiere Pro’s rich support for workflows in 5K and beyond is further enhanced, with new native support for CanonRAW and Sony SStP media. Enhanced CinemaDNG support (including Blackmagic Pocket Cinema Camera, Convergent Design Odyssey7Q, and CinemaDNG source settings), and a powerful new workflow for the ARRI AMIRA camera, where appropriate LUTs are applied on ingest at the master clip level are also available. Editors working with RED media will benefit greatly from the ability to debayer on a supported GPU, providing amazing playback performance up to full-resolution real-time playback on a workstation-class system.

The all-new Master Clip Effects feature provides a brand new, extremely powerful effects workflow. Any effect can now be added to a Master Clip, and any adjustments made at the Master Clip level will ripple down through to all clip instances used within sequences, allowing rapid changes to entire scenes.

The Premiere Pro team continues to pride itself on engaging with the editing community and solving modern workflow problems in powerful new ways.  We’re thrilled to be able bring you these amazing new features soon.

Check out these videos to see the all the top new features in the Creative Cloud video apps in action:

Premiere Pro Overview video
After Effects Overview video
SpeedGrade Overview video
Audition Overview video
Media Encoder Overview video

All the other new features in this release are listed below – we can’t wait to let you get your hands on it.

  • Intel Iris architectures are supported for Mercury OpenCL.
  • Full support for browsing After Effects projects in the Media Browser has been added, and effects compositions within an AEP can be previewed.
  • Users can specify a number of frames for the step forward/back command.
  • Media Browser project browse has been significantly improved for multi-project workflows.
  • A new progress bar appears over the Premiere Pro icon on the Mac OS X dock or Windows taskbar displaying render progress.
  • A new Track Select Backwards tool has been added.
  • An option to show transparent/alpha elements of a frame as a gray and white grid has been added.
  • A preference has been added to maintain audio pitch on scrub and shuttle.
  • The Cross-Dissolve transition is now preset capable.
  • Lens Distortion Removal presets have been added for Go Pro and DJI cameras, and the Lens Distortion Removal effect has been ported to Mac.
  • Multiple transitions can be selected at once and their durations altered simultaneously.
  • Red Giant Pluraleyes workflows have been improved.
  • Several issues with AAF export have been resolved.
  • A Reverse Match Frame command has been added.
  • Significant improvements have been made to effects and transitions parity between Windows and Mac.
  • ‘Favorites’ can now be created and navigated to in the Media Browser.
  • Double-clicking a track item in a sequence will automatically perform a match frame to the playhead position when it is parked on a frame within that item.
  • Typekit support has been added to Premiere Pro, allowing quick access to the Typekit website from the Title menu.
  • A preference has been added to allow a user’s most recent autosave file to be automatically backed up to Creative Cloud.
  • Comment names are displayed in the Marker panel.
  • All video and/or all audio tracks can be locked or unlocked with an assigned keyboard shortcut.
  • An Export command has been added to the contextual menu for items in the Project Panel.
  • Sequences in the Timeline or Project Panel can be made offline with a right-click.
  • A keyboard shortcut can be assigned for the Keyboard Shortcuts dialog.
  • Sound roll/Sound timecode can be used in an EDL export.
  • Audio clip volume keyframing can be nudged up and down with assignable keyboard shortcuts.
  • Scratch-disk workflows have been improved, both when moving between platforms and when the previous scratch disk is offline.
  • Searching and sorting in the Project Panel has been made dramatically faster.
  • A new Set To Frame Size command has been added, preserving the full resolution of media without rasterizing (as with Scale To Frame Size).
  • A new popup has been added to audio track headers to allow fast Voice Over recording configuration.
  • Dolby Digital and Dolby Digital Plus (stereo only) can be encoded on export.
  • The fx badges on track items have been moved to the left of the name, and can now be disabled.
  • More than one keyboard shortcut can be assigned to a single command.
  • Improvements have been made to AVCi growing files performance.
  • An option has been added to not consolidate duplicates on import.
  • Manual sync offsets can be committed to a new Project item.
  • SCC or MCC caption files can be created without needing to create accompanying media.
  • Effects are preserved when using the Flatten Multicam command.
  • An option has been added to create a new folder when a sequence or XML is imported.
  • The Mosaic effect has been GPU optimized.
  • Assignable keyboard shortcuts have been added for toggling audio and video track outputs.
  • A preference has been added to disable automatic import of embedded closed caption streams.
  • Users can export to AS11 content packages.
  • Users can export to certain types of Quvis Wraptor DCP packages.

Join us on April 10th for a special online event to see all these new features in action,

To see a big sneak peek of all of the new and exciting things coming in Adobe’s professional video and audio applications and services, go here.

Because we’re just revealing these features now, you won’t yet have access to them through Creative Cloud, but you can make sure that you get them as soon as they’re available by subscribing now. If you join Creative Cloud before 30May2014, you can take advantage of our special promotional offer. See this page for details.

For more information about Creative Cloud, see this overview video and the Creative Cloud FAQ list.

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Ask a Video Pro Webinars

Boost Your Career with a Killer Reel - presented by Rod Harlan. Get tips & tricks for putting together a reel that grabs the viewer & shows off your work.
(Rescheduled) Thursday October 2, 2014 | 10am PST Register

LOG and RAW Workflow & Adobe Tools - presented by Robbie Carman. A discussion on cameras, media & monitoring best practices for RAW or LOG workflows with Adobe Premiere Pro, SpeedGrade & Adobe Media Encoder.
Thursday October 9, 2014 | 10am PST Register

Recent Sessions
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