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It is with enormous pleasure that we are able to say that the Adobe Premiere Pro CC is available NOW through Creative Cloud. We’re very excited about this release and have been looking forward to today for a long time! We hope you enjoy being creative with it. Exciting new versions of all our creative applications are also released today. A veritable plethora of links and goodies are below. Have fun!
WHAT’S NEW? – http://adobe.ly/15cYBFI
VIDEO – Creative Cloud for Video Pros: http://adobe.ly/ZLKZmH
VIDEO – Overview of Premiere Pro CC: http://adobe.ly/ZBQArW
BLOG POST WITH EXTENSIVE INFORMATION: http://adobe.ly/12kgPt6
DATA SHEET – What’s New In Premiere Pro CC: http://adobe.ly/16qm3jV
- Lumetri Deep Color Engine
- Video Overview: http://adobe.ly/13pDijv
- Audio Enhancements
- Video Overview: http://adobe.ly/10rIpSh
- Editing Finesse
- Video Overview: http://adobe.ly/17x37VB
- Info on new Multicam audio workflow: http://adobe.ly/11pq3zR
- Link & Locate
- Video Overview: http://adobe.ly/102wTtR
- Sync Settings
- BLOG – Use Sync Settings for sharing keyboard shortcuts, preferences, effect presets, and workspaces: http://adobe.ly/129fQJq
- Native-Format Workflows
- Video Overview: http://adobe.ly/1a1DMCC
- Premiere Pro CC & Prelude CC
- VIDEO – Faster Editing Based on Script: http://adobe.ly/10rIpSh
Video Overview of Creative Cloud: http://adobe.ly/Zhio8c
- One of the advantages of Creative Cloud is the availability of updates as soon as they’re released.
- This means that if you are already a Creative Cloud member, you already have Premiere Pro CC. Simply download when you want to start using these new features.
- If you don’t have Creative Cloud yet, sign up today to get started. Find the membership that best meets your needs – single-app (starting at $10/mo), Complete (includes ALL the tools Adobe offers. Starting at $20/mo), or Teams (perfect for collaborative environments. Starting at $40/mo). Plan info is here: http://adobe.ly/1afpwXg
- Getting Started in Premiere Pro CC: http://adobe.ly/1701wZb
- 10 Time-Saving Tips in Premiere Pro CC via premiumbeat.com: http://adobe.ly/11xODkb
- A huge number of excellent how-to videos for new features in Premiere Pro CC: http://www.retooled.net/
- Premiere Pro FAQ: http://adobe.ly/nD6RKX
- Find questions, answers & conversations on the Premiere Pro forum: http://adobe.ly/4LhNPW
- Premiere Pro social channels offer tutorials, customer stories & much more. Like us on Facebook: www.facebook.com/premierepro and follow us on Twitter: @AdobePremiere (www.twitter.com/adobepremiere )
- The Premiere Pro team is committed to continued improvement & innovation. Let us know how we can make it even better by submitting a bug report or feature request: http://bit.ly/feature_request
- New to Premiere Pro? Creative Cloud gives you the opportunity to try tools you may not know yet. Here are some great resources for getting started: http://adobe.ly/psbYc4
- Switching to Premiere Pro from FCP or Avid? http://adobe.ly/cx384G
Apple’s ‘sneak peak’ of the new Mac Pro yesterday has got a lot of Premiere Pro users excited (and us too!), and has generated some questions around GPUs. Here I’m going to try to clarify the situation regarding GPU support in the forthcoming Premiere Pro CC (a lot of this information is in the previous blog post, but I’m reposting it in light of yesterday’s announcements).
When we first built the Mercury Playback Engine, we focused on NVIDIA CUDA technology. Since then, however, we have worked hard to ensure that users of both NVIDIA and AMD GPUs were able to harness the full power of the Mercury Engine, and I’m happy to confirm that Premiere Pro CC supports GPU acceleration on both AMD and NVIDIA hardware on both Mac and Windows.
The full list of supported GPUs in Premiere Pro CC is here.
For more information on exactly how the Mercury Playback Engine utilizes the computational power of the GPU, go here.
Also, some customers may be aware that in the past there was a not-so-secret way of enabling non-supported GPUs by the ‘hacking’ or removal of a text file. This is no longer necessary in Premiere Pro CC. As long as you have a reasonably modern card with at least 1GB of VRAM, you will still be able to enable that card in the Project Settings dialog. A warning message will appear letting you know that your card has not been certified by Adobe, but once that dialog is clicked through you can use your GPU. The team does try to certify as many GPUs as possible, but we can’t test everything, so this is a way to let you decide if you’re happy using an untested configuration.
Finally, please note that Premiere Pro CC has support for multiple GPU configurations on export (only one is used during playback) so having more than one GPU will speed up your output times. This means that – you guessed it – Premiere Pro will utilize the dual-GPUs in the new Mac Pro when exporting to an output file. Indeed, our very own David McGavran will be talking about our OpenCL improvements at WWDC on Thursday.
Premiere Pro CC offers a significantly improved Mercury Playback Engine, giving more editors than ever before the ability to enjoy the best possible performance. As a recap, the Mercury Playback Engine is three things combined: a 64-bit architecture, massively multi-threaded CPU optimization, and GPU optimization, all of which combine to allow dense, effects-rich, multi-format sequences to play back smoothly. It has always been (and remains) perfectly feasible to run Mercury without the addition of a GPU (‘software rendering mode’) and for many kinds of projects this provides ample horsepower, but adding a GPU makes a noticeable difference, particularly as sequences become more complex.
Premiere Pro CC introduces support for both CUDA and OpenCL GPU architectures on both the Mac and Windows platforms, which results in a dramatically enhanced list of certified GPUs, the full list of which follows this post. (Please note that the list currently displayed on this page is out of date, and will be corrected soon.) Also, if you own a GPU that we haven’t officially tested, but which meets the minimum requirement of having 1GB of VRAM and appropriate drivers installed, you will be able to enable that GPU in Playback Settings. An alert warns you that your configuration isn’t officially certified, but you’ll still be able to turn it on to use it. All this means that more people than ever will be able to enjoy full, GPU-enhanced Mercury Playback Engine performance.
Finally, for customers using configurations containing multiple GPUs, Premiere Pro CC can use all of them during export (but not during playback) so customers who require the fastest possible encode times will be able to leverage all the GPUs they own.
The full list of officially certified GPUs for Premiere Pro CC is as follows:
NVIDIA GeForce GT 650M (CUDA)
NVIDIA GeForce GTX 285 (CUDA)
NVIDIA GeForce GTX 470 (CUDA)
NVIDIA GeForce GTX 570 (CUDA)
NVIDIA GeForce GTX 580 (CUDA)
NVIDIA GeForce GTX 675MX (CUDA)
NVIDIA GeForce GTX 680 (CUDA)
NVIDIA GeForce GTX 680MX (CUDA)
NVIDIA GeForce GTX 690 (CUDA)
NVIDIA Quadro CX (CUDA)
NVIDIA Quadro FX 3700M (CUDA)
NVIDIA Quadro FX 3800 (CUDA)
NVIDIA Quadro FX 3800M (CUDA)
NVIDIA Quadro FX 4800 (CUDA)
NVIDIA Quadro FX 5800 (CUDA)
NVIDIA Quadro 2000 (CUDA)
NVIDIA Quadro 2000D (CUDA)
NVIDIA Quadro 2000M (CUDA)
NVIDIA Quadro 3000M (CUDA)
NVIDIA Quadro 4000 (CUDA)
NVIDIA Quadro 4000M (CUDA)
NVIDIA Quadro 5000 (CUDA)
NVIDIA Quadro 5000M (CUDA)
NVIDIA Quadro 5010M (CUDA)
NVIDIA Quadro 6000 (CUDA)
NVIDIA Quadro K2000 (CUDA)
NVIDIA Quadro K2000M (CUDA)
NVIDIA Quadro K3000M (CUDA)
NVIDIA Quadro K4000 (CUDA)
NVIDIA Quadro K4000M (CUDA)
NVIDIA Quadro K5000 (CUDA)
NVIDIA Quadro K5000M (CUDA)
NVIDIA Tesla C2050 (CUDA)
NVIDIA Tesla C2070 (CUDA)
NVIDIA Tesla C2075 (CUDA)
NVIDIA Tesla M2050 (CUDA)
NVIDIA Tesla M2070 (CUDA)
NVIDIA Tesla K10 (CUDA)
NVIDIA Tesla K20 (CUDA)
ATI Radeon HD 6650M (OpenCL)
ATI Radeon HD 6730M (OpenCL)
ATI Radeon HD 6750 (OpenCL)
ATI Radeon HD 6750M (OpenCL)
ATI Radeon HD 6770 (OpenCL)
ATI Radeon HD 6770M (OpenCL)
ATI Radeon HD 6950 (OpenCL)
ATI Radeon HD 6970 (OpenCL)
ATI Radeon HD 7510M (OpenCL)
ATI Radeon HD 7530M (OpenCL)
ATI Radeon HD 7550M (OpenCL)
ATI Radeon HD 7570 (OpenCL)
ATI Radeon HD 7570M (OpenCL)
ATI Radeon HD 7590M (OpenCL)
ATI Radeon HD 7610M (OpenCL)
ATI Radeon HD 7630M (OpenCL)
ATI Radeon HD 7650M (OpenCL)
ATI Radeon HD 7670 (OpenCL)
ATI Radeon HD 7670M (OpenCL)
ATI Radeon HD 7690M (OpenCL)
ATI Radeon HD 7730M (OpenCL)
ATI Radeon HD 7750 (OpenCL)
ATI Radeon HD 7750M (OpenCL)
ATI Radeon HD 7770 (OpenCL)
ATI Radeon HD 7770M (OpenCL)
ATI Radeon HD 7850 (OpenCL)
ATI Radeon HD 7850M (OpenCL)
ATI Radeon HD 7870 (OpenCL)
ATI Radeon HD 7870M (OpenCL)
ATI Radeon HD 7870 (OpenCL)
ATI Radeon HD 7970M (OpenCL)
ATI Radeon HD 7950 (OpenCL)
ATI Radeon HD 7970 (OpenCL)
ATI Radeon HD 7970 (OpenCL)
ATI Radeon HD 8470 (OpenCL)
ATI Radeon HD 8550M (OpenCL)
ATI Radeon HD 8570 (OpenCL)
ATI Radeon HD 8570M (OpenCL)
ATI Radeon HD 8670 (OpenCL)
ATI Radeon HD 8670M (OpenCL)
ATI Radeon HD 8690M (OpenCL)
ATI Radeon HD 8730M (OpenCL)
ATI Radeon HD 8740 (OpenCL)
ATI Radeon HD 8750M (OpenCL)
ATI Radeon HD 8760 (OpenCL)
ATI Radeon HD 8770M (OpenCL)
ATI Radeon HD 8790M (OpenCL)
ATI Radeon HD 8870 (OpenCL)
ATI Radeon HD 8950 (OpenCL)
ATI Radeon HD 8970 (OpenCL)
ATI FirePro M2000 (OpenCL)
ATI FirePro V3900 (OpenCL)
ATI FirePro M4000 (OpenCL)
ATI FirePro V4900 (OpenCL)
ATI FirePro W5000 (OpenCL)
ATI FirePro V5900 (OpenCL)
ATI FirePro M5950 (OpenCL)
ATI FirePro M6000 (OpenCL)
ATI FirePro S7000 (OpenCL)
ATI FirePro W7000 (OpenCL)
ATI FirePro V7900 (OpenCL)
ATI FirePro W8000 (OpenCL)
ATI FirePro S9000 (OpenCL)
ATI FirePro W9000 (OpenCL)
ATI FirePro S10000 (OpenCL)
ATI Radeon HD 6750M (OpenCL)
ATI Radeon HD 6770M (OpenCL)
NVIDIA GeForce GTX 285 (CUDA)
NVIDIA GeForce GTX 675MX (CUDA)
NVIDIA GeForce GTX 680 (CUDA)
NVIDIA GeForce GTX 680MX (CUDA)
NVIDIA GeForce GT 650M (CUDA)
NVIDIA Quadro CX (CUDA)
NVIDIA Quadro FX 4800 (CUDA)
NVIDIA Quadro 4000 (CUDA)
NVIDIA Quadro K5000 (CUDA)
Sync Settings features in Premiere Pro CC for sharing keyboard shortcuts, preferences, effect presets, and workspaces
The Sync Settings features give you the ability to upload settings files from your local computer to Creative Cloud and then download your settings from Creative Cloud to any other computer from within Premiere Pro. The Sync Settings features work very much the same in Premiere Pro as the same features in After Effects.
The settings that can be synchronized in this way correspond to the entries in the Sync Settings category in the Preferences dialog box:
- Workspace Layouts
- Keyboard Shortcuts
Do let us know with a feature request if there are other settings that you’d like to see synchronized.
When you start Premiere Pro, the Welcome Screen gives you your first opportunity to synchronize settings. You have two options under the Sync Settings To Adobe Creative Cloud heading:
- Sync Now: Click this to begin the synchronization process for the user with the Adobe ID shown.
- Use Settings From A Different Account: Click this to begin the process of switching to a different account and using its settings.
You have access to the same commands from the File menu, from the menu entry that will either be Sync Settings or your Adobe ID, depending on whether you’ve enabled the feature by choosing to synchronize settings.
Also in that Sync Settings menu are a few other commands:
- Clear Settings: Restores all settings to the system state (i.e., the settings that were in place before you used the Sync Settings feature); also clears the user information from the application (if you chose the Use Settings From Different Account Feature). You can also choose to enable the Automatically Clear User Profiles On Quit preference in the Sync Settings category. This is a good idea if you are working temporarily on a shared computer.
- Manage Sync Settings: Opens the Sync Settings pane of the Preferences dialog box.
- Manage Creative Cloud Account: Takes you to the Creative Cloud web page.
The Sync Settings menu can also be opened by clicking the button in the lower-left corner of the application window. The tooltip for this button is the most convenient way of seeing which account’s settings are in use.
Any time that you switch users or load settings from Creative Cloud, you must close the current project. When you upload files from the local computer to Creative Cloud, closing the project is not necessary.
When you choose to synchronize settings, you will either get a message telling you that “Settings are already in sync” or a Sync Settings dialog box. In the Sync Settings dialog box, you can choose whether to upload/save your current files from the computer to the Creative Cloud server (Upload Settings) or download and apply the files from the Creative Cloud server (Download Settings). If you know that you will always want to do one or the other, you can check the Remember My Preference box. A good example for using this setting is when you want to treat your primary office computer as the gold standard, so you only ever upload its settings to Creative Cloud, whereas the computers that you freelance at are only consuming those settings, so you only ever download to them. You can change your mind about this setting and choose a new value from the When Syncing menu in the Sync Settings category in the Preferences dialog box.
One of the great features in Premiere Pro CC (7.0) is the ability to align clips in a multi-camera (multicam) sequence according to their audio waveforms. This makes synchronizing clips from various sources extremely easy, and it tends to be more accurate than the previous methods involving manual setting of In points, et cetera.
This post is not intended as a detailed exploration of all of the multicam improvements in Premiere Pro CC (and there are many), but as a quick end-to-end guide to show how easy it is to edit a multicam sequence.
Step 1. Start Premiere Pro and create a new project.
Start Premiere Pro. When the Welcome screen appears, click New Project.
In the New Project dialog box, enter a name for the project, and click OK to accept the defaults.
Step 2. Import footage.
Choose File > Import. In the Import dialog box that appears, navigate to the directory containing your video and audio files. Select the ones that you want to import, and click Open. You can select a range of files all at once in the Import dialog box by clicking the first one and Shift-clicking the last one, selecting everything in between.
The footage items will appear in the Project panel, as shown here. Note that I have three video files with audio, plus one audio file from an external recorder. The audio-only file is my good audio track, whereas the audio from the video files will be used as reference audio for synchronization.
Step 3. Make a multicam source sequence.
With all of the footage items selected in the Project panel, choose Clip > Create Multi-Camera Source Sequence. (You can also access this command by right-clicking on the selected items in the Project panel.) This makes the Create Multi-Camera Source Sequence dialog box appear.
Choose to synchronize according to audio by choosing Audio in the top part of this dialog box. Leave other settings at their defaults and click OK.
This creates a new multi-camera source sequence in the Project panel, and it moves the clips into a Processed Clips folder.
Premiere Pro knows to mute the audio for the video clips, since their audio is just used as reference. You can see this or change it by opening the multi-camera source sequence in the Timeline panel.
To see the multi-camera source sequence in the Timeline panel (which you don’t really need to do right now, but maybe you’re curious), right-click it in the Project panel and choose Open In Timeline from the menu that appears. Here you can see that the clips have been arranged in time so that their audio waveforms are aligned.
You’ll use the multi-camera source sequence much like any other clip.
Step 4. Make a multi-camera target sequence.
With the multi-camera source sequence selected in the Project panel, choose File > New > Sequence From Clip (or right-click on the multi-camera source sequence and choose New Sequence From Clip from the context menu).
This creates a new multi-camera target sequence, and opens it in the Program Monitor and Timeline panel.
Step 5. Enable multi-camera editing in the Program Monitor.
Click the Settings button (the button shaped like a wrench in the lower-right portion of the Program Monitor), and choose Multi-Camera from the menu that appears. This converts the Program Monitor to multi-camera mode.
Step 6. Enable recording of multicamera edits.
Press 0 on the main keyboard to enable recording of multicamera edits.
Step 7. Begin editing.
In the Program Monitor or Timeline panel, press the spacebar or otherwise begin playback. While the sequence is playing, press the number key on the main keyboard to cut to the camera with that number. The active camera’s clip has a red border around it in the multi-camera view in the Program Monitor.
You can go back and play through the sequence as many times as you like, making and refining edits. When you stop playback, you’ll see the cuts reflected in the Timeline panel.
Step 8. Export.
With the sequence active in the Program Monitor or Timeline panel, choose File > Export > Media.
Just choose your export settings and click Export (or Queue to send the export job to Adobe Media Encoder).
It’s that easy.
Today is a very exciting today for us here at Adobe, as we are revealing the next and greatest version of Premiere Pro, alongside brand new versions of our other professional video and audio applications. You can check out demos of the top features for all these next versions on our NAB Reveal page:
While these versions are not yet available, if you’re a Creative Cloud member, you’ll automatically be able to get these new versions as soon as they’re available as part of your membership. And if you’re not a member yet, now is a fantastic time to sign up, because we’re offering a special 40% discount until the 19th of April.
Designed to work the way editors think, the next version of Adobe Premiere Pro offers a slew of new features and refinements that let you move through your projects efficiently and intuitively, including Editing Finesse workflow enhancements, Link & Locate to help you find files faster, an expanded audio toolset, an even more responsive Mercury Playback Engine, and a powerful new closed captioning workflow. We’ve also added the Lumetri Deep Color Engine to Premiere Pro, so you can apply .look files from Adobe SpeedGrade to your clips and cut with the aesthetic of the grade. A library of preset Lumetri looks is included, offering simple, beautiful looks without leaving the application.
There are so many new features in the next version of Premiere Pro it will take some time to go through them all, but in the meantime here’s a pretty comprehensive list:
Top new features in the next version of Premiere Pro
- Editing finesse: multiple refined tools and workflows to help you work faster than ever
- Redesigned Timeline: a cleaner look and feel for intuitive workflows
- Customizable track headers with the option to save track header presets. Scrolling the mouse wheel or keyboard shortcuts can be used expand tracks.
- Duplicate frame markers: see which frames have already been used
- Paste attributes: paste the attributes of customized effects
- Link & Locate: Allows for much faster and simpler clip relinking and media management
- Lumetri Deep Color Engine: Apply rich color presets to clips from the new Lumetri Looks browser, or apply LUTs or .look files from Adobe SpeedGrade to clips
- New Audio Clip Mixer for adjusting levels on individual clips
- Audio control surface support
- New audio Plug-ins including the TC Electronic Loudness meter
- Support for VST3 and Audio Unit plugins (Mac OS only)
- Adobe Anywhere for video integration. Just launched, Adobe Anywhere is a modern, collaborative workflow platform that empowers users of Adobe video tools to work together, using centralized media, across any network. Learn more here.
- Industry-standard mezzanine codecs DNxHD (in MXF), and ProRes are built-in (ProRes encode requires Mac OS X 10.8.x)
- Natively edit more formats including Sony XAVC and Panasonic AVC-Intra 200
- Import, edit, repurpose, and export Closed Captions
- OpenCL and CUDA support on Mac and Windows, and far more supported GPUs than ever before (plus the ability to enable an unsupported GPU)
- AAF and XML import improvements to allow you to move projects and sequences from Avid and Final Cut Pro 7 (or earlier) systems
(Nearly) all new and changed features in the next version of Premiere Pro
Here is a virtually comprehensive list of changes, with detail beyond the summaries of the top items listed above. We’ll be posting a lot more detail over the coming weeks, and the outline below will be populated with links to in-depth articles and tutorials, so bookmark this page and check back.
▪ Adobe Story panel
▪ Adobe Exchange panel
▪ More icons and interface items created for HiDPI displays
▪ New audio effects plug-ins interface for clip and track effects
▪ Work Area Bar display set to off by default
▪ Action-safe & title-safe indicator in monitors for HD frame sizes
▪ Add or delete a track using context menu commands
▪ Command to enable or disable video preview through Mercury Transmit
▪ Double-click to expand or collapse tracks
▪ Timeline Track Height presets
Importing and sequence setup
▪ Improved AAF importer
▪ Support for Sony XAVC formats
▪ Display project bin structure in Media Browser for importing elements of a project editing
▪ Improved multicam editing
▪ Timesaving editing features
▪ Adobe Anywhere for video support
▪ Copy command enhanced to operate on a range in a sequence
▪ Create Multi-Camera Source Sequence from a bin or selection of clips
▪ Customizable number of Undo levels
▪ Dialog box for naming nested sequence when it is created
▪ Insert and Overwrite sequences as nests or individual clips
▪ Keyboard shortcuts for moving selected clips up or down to different tracks
▪ Multicam mode
▪ Navigate to and select next clip and previous clip
▪ Out-of-sync indicators for unlinked audio and video
▪ Preference to snap playhead when dragging it in the Timeline panel
▪ Subclips have the ability to access media beyond original limits
▪ Better, easier source patching/track targeting
▪ Through-edit indicators and Join Through Edits command
▪ Trimming to zero duration
▪ Option to show or hide clip markers effects and color
▪ Arrow keys for moving clip (modifying Position property)
▪ Automatically import an exported frame or movie into the project
▪Clip Name effect
▪ GPU-accelerated Wipe and Slide transitions
▪ Lumetri look presets and .look and LUT import
▪ Paste Attributes option dialog box
▪ Render Selection command to render selected clips
▪ Symmetrically trimming transitions
• Crop effect now has Edge Feather function
▪ Multiple GPU export support
▪ OpenCL processing on Windows
▪ Rectified audio waveforms
▪ Switch Source Monitor to Audio Waveforms by clicking Audio edit button
▪ Ability to switch waveforms in Source Monitor by clicking a button
▪ New audio effects plug-in window
▪ Audio Meter, Track Volume and Pan controls available in Timeline Track Headers
▪ Audio output mapping preferences for Mercury Transmit
▪ Audio waveform visible for nested sequence
▪ Ability to switch waveforms in Source Monitor by clicking button
▪ Audio Clip Mixer
▪ Keyboard commands for increasing and decreasing clip volume
▪ Context menu command for showing audio time units
▪ Keyboard shortcuts to change pan values
▪ Modify—Audio Channels available for nested sequences
▪ Open an audio plug-in effect window from clips in a sequence
▪ Toggle Audio During Scrubbing
Exporting and Adobe Media Encoder
▪ Edit to Tape panel available for easier tape layback
▪ 16 bit DPX support
▪ Improvements to Smart Rendering
▪ QuickTime audio export with individual tracks
▪ Project and media management⁃ Importing individual clips, sequences, and other items from project files
▪ Import, repurpose, and export Closed Captions
▪ Audio Control surface support
▪ Custom location for Auto-save folder
▪ HiDPI user interface upgrades
▪ New Sequence dialog box suppressed when opening a new project
▪ Preference for loading most recent project when application starts, skipping Welcome Screen
▪ Preference to toggle tool tips on or off
▪ Search box in Marker panel
If you’re lucky/brave enough to be heading to Las Vegas next week for the NAB show, you’ll be able to see these new versions yourself. We hope you like what you see – we pride ourselves on listening to and engaging with the editing community, and this version brings many of the most requested features to the next version of Premiere Pro. If you want to ask questions about these new and changed features, come on over to the Premiere Pro user-to-user forum.
Today we are revealing new features that are coming the next version of Adobe Media Encoder as well as our other professional video and audio applications, Adobe Premiere Pro, After Effects, Audition, Prelude, and SpeedGrade. To see sneak peeks of all the Adobe professional video and audio products, click here.
The next version of Adobe Media Encoder is full of new features that allow it to continue to be the backbone of many postproduction workflows. Whether you use Adobe Premiere Pro, Adobe Prelude or Adobe After Effects to name a few, you can be sure that Adobe Media Encoder is running in the background to help.
You can see the features in action on the NAB Reveal webpage, and if you are in Las Vegas at NAB, come on over to the Adobe booth to see some demos and to talk with us.
When can you get your hands on these upcoming features? Although the next versions of Adobe Pro Video apps aren’t available now, we’re offering a NAB Show special to get 40% off your first year of Adobe Creative Cloud membership (only $29.99/month), and you’ll automatically get these new features as soon as they are available. You can check out upcoming top features coming to the next versions here. Creative Cloud is available for individuals or teams. www.creativecloud.com
Here is a look at some of the top new features coming to the next version of Adobe Media Encoder.
- (Enhanced) Output to virtually any screen, device, or format – Quickly and easily output your work for virtually any video or device format including DNxHD and ProRes. Customize, set and organize your favorite presets in the Preset Browser for fast export and batch encoding in the background.
- Match Source Settings for H.264 and MPEG-2 exporters – Save time and automatically have your output sync with your input through Match Source Settings. It is easier than ever to be able to chance format + bandwidth while ensuring the integrity of frames per second.
- Export Closed Caption data – Export closed caption tracks seamlessly with Adobe Media Encoder from Adobe Premiere Pro sequences. Adobe Media Encoder exports closed caption tracks from Premiere Pro sequences as a separate “sidecar” file that contains the caption data. For QuickTime exports, you can choose to export the data either as a separate sidecar file, or embed the data within the output file.
- Enhanced integration with Adobe After Effects – Export Adobe After Effects compositions directly into Adobe Media Encoder saving time and ensuring a smoother workflow. Several export formats previously available in After Effects are now available within Adobe Media Encoder.
- (Enhanced) Support for Avid DNxHD Assets – Adobe Media Encoder easily supports the import and export of Avid DNxHD assets with no need to install additional codecs.
- New MPEG-2 exporters – Performance enhancements and a UI redesign were done to MPEG-2, MPEG-2 Blu-ray and MPEG-2-DVD export formats.
- Quality slider now has a range of 1-100 instead of the previous 1-5
- New layout matches H.264 and other newer exporters
- Enhancements to SurCode for Dolby Digital audio codec – This audio codec is now available for MPEG-2, MPEG Blu-ray, MPEG-2 DVD, H.264 an d H.264 Blu-ray exporters.
My colleague, Todd Kopriva, has written a more technical piece on Adobe Media Encoder centered on Adobe After Effects here. This piece is great at showing Adobe Media Encoder’s value to the other professional video products.
There is a look at the top new features coming to the next version of Adobe Media Encoder. Please continue to follow the Premiere Pro blog, Adobe Media Encoder site, and user forums for updates on Adobe Media Encoder in the coming weeks.
To discuss these new changes and features, please visit the Adobe Media Encoder user-to-user forum.
Jump-start your production with Adobe Prelude, a unified interface for easy ingest, logging and transcoding that allow you to work faster, stay organized, and prepare your digital footage for a streamlined post-production process.
Today we are revealing Adobe Prelude CC (2.0), as well as our other professional video and audio applications – Adobe Premiere Pro, After Effects, SpeedGrade, Adobe Media Encoder and Audition. To see all the top new features in the future versions of these apps, click here.
The next version of Prelude is full of new features to empower and improve your postproduction workflows. You’ll save time with an intuitive, keyboard-driven workflow, entering temporal markers and other searchable metadata while keeping your eyes on what matters most: your footage. With expanded file support for ingest and transcoding, Adobe Prelude accelerates shot-logging with new features like hover scrubbing thumbnails in the Project panel, file renaming during ingest, and metadata templates which ensure that key information is always added. Export rough cuts directly through Adobe Media Encoder to share your vision on virtually any device. And you can collaborate in new ways with your team with new Prelude integration for Adobe Anywhere for video and Adobe Story.
Although the next version of Prelude and the other professional video and audio apps aren’t available now, we’re offering a NAB Show special to get 40% off your first year of Adobe Creative Cloud membership (only $29.99/month), and you’ll automatically get these new features as soon as they are available.
Here’s a little more detail on the top features coming to the next version of Prelude:
- Hover scrub thumbnails – Quickly review clips in the Project panel by hover-scrubbing thumbnails—no need to open the clip to see what is there. Click the clip, make it active and play it (including audio) using standard keyboard controls.
- Rename files on ingest -Apply descriptive names to your files as you ingest so that you can more easily search for and find what you need later.
- Define what information you need on ingested clips – Make sure media is tagged with the appropriate level of detail by creating customize templates that let you mandate what information is collected and applied to clips upon ingest.
- Turn scripts into metadata with Adobe Story – Import a file from Story into Prelude, and turn your script into meaningful, searchable metadata that flows into Adobe Premiere Pro, speeding the editing of projects that rely on finding just the right word. For more on this check out Wes Plate’s video located on the NAB Reveal page.
- Support for growing files – The next version of Prelude helps you ingest and log growing files. This means post-production and editing work can begin even as production continues. This is great for projects requiring a fast turnaround, such as live-to-broadcast shows. As footage is being recorded by a system such as Omneon Media grid or Sienna PictureReady, Prelude continues to check in to see which files have grown. Prelude then refreshes that material so you can continue to work on your footage. Additional hardware is required based on volume of growing footage.
- Enable team collaboration with Adobe Anywhere – Prelude will have first class integration with Adobe Anywhere for video enabling for ingest and logging of files to remote servers. Adobe Anywhere for video is available as a separate purchase and implementation. Visit the Adobe Anywhere page to learn more.
- Ingest files directly into selected bins – This new feature saves time in organizing footage because the user can direct where the ingested material will appear. You can now ingest into a project specific bin instead of just the root bin.
- Sony XMPilot Metadata support – you will be able to import the metadata found on a Sony XDCAM HD camera with XMPilot option into Prelude. Prelude takes the static metadata found with the footage and adds it to the metadata panel. Essence markers, markers that mark footage with interesting moments, show up as a comment marker in Prelude. This adds value to your media and allows for easy search ability.
- 64-bit on Windows and Mac – the next version of Prelude will be now natively, 64-bit on both Windows and Mac giving rock solid performance and stability. Please note Prelude will only be available as 64-bit in future versions.
- Create and Export Rough Cuts – the next version of Prelude offers you the option to export Rough Cuts directly through Adobe Media Encoder to share with others for review or for uploading to video sharing websites.
You can check out upcoming top features coming to all the next versions of Adobe professional video and audio apps here. , and read a preview of Prelude here. If you are in Las Vegas at NAB, come on over to the Adobe booth to see some demos too! Please continue to follow the Premiere Pro blog, Prelude website and user forums for updates on Prelude in the coming weeks. To learn more and discuss these new changes and features, please visit the Prelude user-to-user forum.
Recently, Jacob Rosenberg presented a seminar describing the making of the latest Bandito Brothers offering, “Waiting for Lightning.” Included in the seminar were Creative Suite tips and tricks, as well as a Q&A session with Jacob.
If you are interested in the applications mentioned in this webcast, see this link: Creative Cloud Membership subscription.
Jacob covered a lot of ground in this webinar and in the Q&A segment at the close. Here are links to relevant information about the topics Jacob covered in his presentation, along with questions asked and answered in the Q&A segment:
main topics covered in presentation
- Waiting for Lightning Overview
- Use of multiple video tracks for 3 different camera angles
- Use of multiple audio tracks for different sources
- Folder structure organization at the OS level
- Importing an EDL
- Choosing sequence presets
- Relinking media
- Scaling and repositioning clips coming from telecine
- Using dynamic link for text animation
- Using Edit > Original
- Grain effect settings in After Effects
- Nested sequences in Premiere Pro
- After Effects lights used on text
- Using track mattes
- Repositioning clips for versioning
- Creating a credit roll with Photoshop and After Effects
- Creative Cloud provides applications during crucial parts of post-production process
miscellaneous and Q&A
- Why was the edit done in Avid? Project started in 2010, so collaboration was stronger in Avid at that time. Now they would use CS6.
- What plug-in was used to achieve grain effects? Cinefilm Dark Energy. The After Effects plug-in version works well.
- Are there any resources from Bandito Brothers to help filmmakers? Search the web for Bandito Brothers workflows.
- How was the sound mix done? AAF files were exported from Avid or Premiere Pro, the final mix done in ProTools.
- Where can users find out more information about “Waiting for Lightning?”
“Video Professionals: Switching to the Adobe Creative Cloud and CS6″ with Jason Levine, session recording and notes
Jason Levine presented a webinar on how to get started with Creative Cloud and Adobe CS6 video tools to craft and promote your video productions. Jason provides tips for people switching from Final Cut Pro and Avid Media Composer. Here are the topics that Jason covered in his presentation, as well as links to relevant information:
Main topics covered in the presentation and demo
What is Adobe Creative Cloud, and how do I get started?
- Creative Cloud sign-up options (try for free! try today)
- purchase options (Free, month-to-month, annual commitment)
- redeeming pre-paid CC cards
- logging in with your Adobe ID
- Files Panel/Apps Panel
- storing media in the Creative Cloud (and media types)
- sync and sharing options (and some current limitations)
- sync and share content from Adobe Tablet Applications (featuring Photoshop Touch)
- downloading apps with Application Download Manager
- running on the desktop, downloaded from Creative Cloud
- Creative Cloud Connection (beta)