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Premiere Pro CC is built to be a rich, powerful video editing application that allows editors to meet the demands of modern post-production – quickly and intuitively, with minimal interruptions and maximum creativity. The Premiere Pro team focuses our priorities for each release by listening closely to problems and desires of editors. Of course, editors who cut with Premiere Pro are always excited when we release groundbreaking new features like the Mercury Playback Engine, Dynamic Link to After Effects, or the Lumetri Deep Color Engine; but it’s often the enhancements, the editorial polish that really make editors happy, make you say “Yes! This will make my workflow so much smoother!” It’s these refinements that we call JDI features – ‘Just do it’.
Between every engineering sprint (a several week period when the Premiere Pro team is developing features) we take short breaks to focus solely on JDIs. So how do we define a JDI? What elements make a feature request fall into the “this is gonna take a while” bucket or the “we should just do this” (JDI) bucket? The definition is very simple:
A JDI is a feature that can be fully implemented and fully tested in one day.
Some examples of recent JDIs would be –
• New keyboard shortcut or button for existing functionality – like the shortcut added in the July 2013 release to toggle between Source and Program monitors.
• Visual cues to ease the interpretation of your media – like through edit indicators added in the June 2013 release, or offline audio showing red that was added in the July 2013 release.
• Preferences to customize user experience – like the preference to not automatically jump to the beginning of the timeline or clip after playback has reached the end added in the July 2013 release.
The great thing about Creative Cloud is that now we can deliver JDIs faster and more frequently than ever before – we put time into engineering both the groundbreaking features as well as revisiting and continually refining the editing experience based on your feedback to help you work faster and more efficiently. So keep telling us what you think – we’re listening!
We asked. You answered. Many of the JDI feature requests submitted are already IN the October 2013 release of Premiere Pro, now you have the chance to help us decide one more feature that will be coded at the IBC Show and included as well. Vote via Twitter from Monday, Sept 9th at 6pm PST to Tuesday, Sept 10th at 6pm PST, including @AdobePremiere and #myJDI with the number/name of the feature YOU want in the next release:
- Render Multiple Sequences: Ability to highlight sequences in a bin, and choose to render them all – not encode, just render any effects on those timelines.
- Add Effect Preset: Double clicking an Effect Preset adds it to the selected clip instead of editing the preset. Making them the same behaviour as adding the base effect or plugin keeping workflow consistent.
- In/Out Ripple Delete: Ripple Delete works on in/out ranges not just selection
- Add Keyframe Shortcut: An Add Keyframe keyboard shortcut.
- Toggle All Target Shortcut: Ability to toggle target all tracks on and off at the same time.
If you have ideas for features you think are a little more involved than what would be considered a JDI you can always submit feature requests here.
The Premiere Pro CS6 (6.0.5) bug-fix update has been released, which addresses an issue with the Premiere Pro CS6 (6.0.4) update. This update is recommended for all users.
To install the update, choose Help > Updates in Premiere Pro CS6.
The update will show up in Adobe Application Manager (or Adobe Creative Cloud for members). Please restart the Application Manager or Creative Cloud application if you aren’t seeing the update.
A summary of the key issues resolved in the Premiere Pro CS6 (6.0.4) update is below.
- Spanned AVCHD clips could sometimes play back incorrectly.
- Smart rendering could sometimes cause segments to play back in the wrong order or incorrectly.
- Smart rendering progress could sometimes stall and become unresponsive.
- Premiere Pro could sometimes crash while the user was editing a growing QuickTime file.
- When importing a Final Cut Pro XML file, audio clips could sometimes incorrectly import with a level of -∞.
The Premiere Pro CS6 (6.0.5) update fixes a problem with the setting of In and Out points in the Source Monitor. Because updates are cumulative, installing the current Premiere Pro CS6 (6.0.5) update gives you the fixes in the Premiere Pro CS6 (6.0.4) update, too.
In addition to all the great features in this week’s release, many bugs were also fixed in the July 10th update. Here is a summary:
- H.264 444 video files are incorrectly decoded as 422. One manifestation is green artifacts.
- Some XDCAM 422 QuickTime clips fail to import on Mac, and imports only audio on Windows.
- hang on quit if project contains SonyRaw Format clips imported via Media Browser
- Crash on dragging an empty bin from Media Browser to the Project panel, with error message “[..\..\Src\ProjectActions.cpp-2653]”
- Growing file sometimes becomes media offline while editing
- Growing file sometimes goes offline while editing
- When capture codec is set to DNxHD 145, clips captured at 1080i setting are created at 1080p.
- If Capture panel and Edit to Tape panel are open at the same time, Capture panel will fail to capture video.
- Capture Device in the capture window becomes Offline after closing the Edit to Tape panel
- Crash on batch capture with tape deck connected via SDI. Error message: [..\..\Src\ManualRecorderUtilities.cpp-348]
- [FCP XML Export] No audio with clip if track is muted at export with XML
- OMF Export does not trim audio properly if audio comes from multicamera sequences
- FCP XML’s sometimes lose the correct output assignment and panning information on import.
- Sequence previews are used during movie export regardless of the “Use Previews” Export Settings option being selected or not.
- Some muxed h264 CBR exports are longer than the original source material
- Duration of H264 encodes is shorter than the source by up to a second.
Smart Render: Media from some decks does not smart render properly
- Faders on control surface do not work with an adaptive clip in a multichannel sequence.
- Some control surface faders for Clip Mixer are not updated when switching between sequences for Clip Volume value of 0.0
- Toggle Control Surface Clip Mixer Mode button assignment provides no visual feedback.
- Mute Buttons do not update correctly for some control surface interfaces
Edit to Tape
- Edit to Tape Panel: after edit is complete, edit data remains stored in deck, and deck often remains in Insert or Assemble mode. Causes tape export failure on some decks.
- Edit to Tape panel: “Delay Movie Start by [x] frames” is not properly honored in some case
- Audio tracks in Edit to Tape panel do not default to A1 through A4 when switch from “Insert” to “assemble,” then back to Insert
- Export to Tape panel: when switching from Assemble to Insert, all audio channels are selected, even when the channels are unsupported.
Transmit: Occasional crash on toggling Transmit during timeline playback [Mac only]
- After external I/O device is disconnected, CTI sometimes fails to move
- after stopping playback, AVC-Intra and DVCPro HD files take 15 – 20 seconds to render frames for playback
- Some XDCAM QT MOV clips show Media Pending graphic for extended period and exhibit poor scrubbing and playback
- Various issues interfacing with audio drivers on Mac that could result in failed audio recording or playback, issues connecting to audio devices, audio issues upon the computer waking.
- Poor quality audio when using some USB microphones in conjunction with a capture card
- Audio distortion with audio enabled on some capture cards
- Adaptive clips exported to Audition lose audio when channels are remapped.
- Channel mapping of 5.1 clips exported to Audition is sometimes incorrect
- Only the first audio channel of SonyRaw plays clips play when loaded into the Source monitor from Media Browser
- Crash with error message “[..\..\Src\Content\AudioSequenceContent.cpp-903]”
- Timecode for some DPX clips is not handled properly
- Premiere does not read correct start timecode from .mp4 files from some cameras
Merged Clips: “Reveal in Project” does not work with Merged Clips
- Media not relink-able after converting a project from CS6 to CS7: Error message “Cannot Link Media: The selected file cannot be linked because it has 2 audio channels and the clip was created with 1 audio channels”
- “Log Note” in Clip Metadata is lost after relinking
Sequence Settings: New Sequence from Clip: Some stereo clips yield a sequence with audio set to 10 Channel Mono
- The Timeline panel does not redraw correctly after audio keyframes are deleted.
- Relevant menu options are unavailable when an empty timeline has focus.
- Record Voice Over does not work when an Out point is set in Timeline
- New audio tracks initialize at minimum track height in cases where they should be expanded
- Crash on undoing a razor edit with with multiple clips selected, with error message “../Src/Sequence/PersistentGroup.cpp-108” or “../Inc/Sequence/TrackItemGroup.h-215”
- Upon flattening a multicam sequence, transitions are applied on the wrong layers. Can lead to crash with error message […Src\Sequence\Action\SequenceAddTransitionAction.cpp-57".]
- “Extend Previous Edit”: command can result in incorrect media being used.
- Duplicate frame indicators are shown in Multicam edits where clips from different cameras have overlapping timecode
- When a given multicam sequence is already loaded in the Source monitor, the Match Frame command does not auto-select the correct camera
- Multicam project lost all multicamera source synchronization after re-recording cuts then save/reopen project
Sync by Audio
- When syncing by audio fails, user receives no notification
- If a track in the Timeline contains multiple copies of a source clip, then Synchronize by Audio can sync to wrong clip
- Syncing by audio can move audio track items that are on the same track in the Timeline but not selected
- When one of the selected track items is a nested sequence, Syncing by audio always moves other A/V clip.
Effects and Transitions
- Color at edges of crisp mattes is inverted (GPU acceleration only)
- Effects Panel: the Accelerated Effects badges are not displayed (Windows only)
- Error in the way dissolves are rendered with Composite in Linear Color is enabled
- Three-Way Color Corrector does not handle Levels correctly in GPU playback mode
- Clipping occurs with some color correction plugins at values greater that 1
Insert Sequence as Clips: If a sequence contains a layered PSD, App crashes upon inserting it into another sequence as clips [KEM roll]
Metadata: Crash during metadata refresh
- On tabbing with an uncommitted edit in the Markers panel, the Text Edit Control sometimes loses focus
- When playhead is on a clip marker, Clear Current Marker can instead delete a sequence marker
- Quicktime exports with embedded captions can have frame size problems when viewed in QT player 7 and Premiere
- if the project contains captions, project file size grows with each save.
Creative Cloud: CC Authentication is not remembered in some cases.
Today, the Adobe Premiere Pro CC (7.0.1) update was released.
You can check for new updates and install them by choosing Help > Updates.
If you’re checking for updates in the Creative Cloud desktop application, and the updates don’t appear, restarting the application can force it to check for recent updates. In general, updates will appear in the Creative Cloud desktop application within 24 hours of being made available.
If you are not able to install the updates automatically by choosing Help > Updates, you can also directly download the update packages from the download page for Mac OS or Windows by choosing the “Adobe Premiere Pro CC Update” under the “7.0.1” heading for your operating system.
For information about updates for other Adobe professional video applications, see this page.
One of the best things about Creative Cloud is that we’re able to develop and release features in cadence with the demands of this rapidly growing and evolving industry. The Premiere Pro CC July 2013 update, available now, is the first example of that, and we’re thrilled to be able to give you multiple new editing features so soon after the first CC release – less than a month after we shipped CC. These features are focused in the areas of timeline editing, viewing, navigation and media management, and are direct responses to customer feedback we’ve been closely listening to. The release also includes a number of bug fixes, including a documented critical bug with multicam workflows, and is recommended for all users.
The Premiere Pro team puts great importance on engaging with customers at every level. The new features added to this update are based on the incredible amount of feedback we get from our user base, and are designed around making those small things you do thousands of times a day easier and faster to achieve, keeping you creative, productive, and hopefully, happy. We hope you enjoy them, and we look forward to bringing our Creative Cloud members more great new releases in the future.
Adobe also announced today that Adobe Anywhere for video, which was initially previewed in April 2013 at the National Association of Broadcasters tradeshow (NAB), is now available and shipping. With Adobe Anywhere, the biggest headaches in video production — massive file transfers, duplicate media, and proxy files – are a thing of the past. Adobe Anywhere brings virtual teams of talent together, enabling them to efficiently log, edit, share and finish video productions using standard networks and hardware. Today’s release of Adobe Anywhere supports the latest versions of Adobe Premiere Pro CC and Adobe Prelude CC. Support for Adobe After Effects CC is expected later in 2013.
See this page for a list of bugs fixed in this update.
The complete list of newly added features in this Premiere Pro CC update is below:
1. Anywhere for video support
2. Duplicating a title in a sequence creates a new, unique title, which can be independently edited from the original.
3. Lift and Extract can be used when only an In or Out point is set (if only an In is set, Lift/Extract will use the end of the sequence as the Out point; if only an Out is set, the beginning of the sequence will be used for the In point).
4. Copy, Cut, and Clear commands work between In and Out points on targeted tracks when no clips are selected.
5. When a sequence is loaded in the Source Monitor, keyboard shortcuts can be used to navigate to edit points (Up/Down keys by default).
6. Keyboard shortcuts can be used to clear In/Out points on clips in the Project Panel.
7. The Enable Clip command now works as a toggle when multiple clips are selected, such that any disabled clips become enabled and vice versa.
8. The Match Frame command will prioritize a selected clip over a targeted track.
9. The Relink command can now be used on a sequence containing offline media.
10. The Export EDL dialog now contains the option to include or exclude Transitions and the Key Track.
11. The Reveal In Project command now works from the Source Monitor.
12. A preference has been added to select whether or not playback jumps to the beginning of the Timeline or a Clip once the end has been reached.
13. A button has been added to the Timeline Panel to globally Link or Unlink all clips in the sequence.
14. An assignable keyboard shortcut has been added to enable toggling between the Source and Program Monitors.
15. The Reveal In Finder command can now be used on clips in a sequence..
16. A default start timecode value for all new sequences can be set in the Timeline panel.
17. Clips can now be dragged from the Finder or Explorer directly into the Source Monitor.
18. The Match Frame command now works on Nested or Multi-Camera Source Sequences, first matching to the source sequence, then stepping back further to the original master clip used in that source sequence.
19. Offline audio clips are now displayed in red, matching offline video clips.
20. The Source Settings dialog can be accessed by right-clicking on Clips within the Timeline Panel.
21. A preference has been added to allow the Timeline Panel to be automatically focused after an Insert or Overwrite edit is performed.
22. The Auto-Save dialog is suppressed during editing, and auto saves will not occur if no changes have been made to the project.
23. The Tone Settings dialog allows users to set the amplitude and frequency of the Bars and Tone synthetic clip.
24. Closed Captions are displayed on thumbnails in the Captions panel.
25. Options have been added to the Automate To Sequence dialog for Still Clip Duration, giving control over whether still clips use the In/Out range or a specified number of frames per clip (for timelapse workflows).
More information is available in the ‘What’s New’ document.
Our commitment to customers includes those who haven’t yet subscribed to Creative Cloud or who rely on CS6, and we plan to release an update to Premiere Pro CS6 in the coming weeks that will address an AVCHD clip spanning issue. For more information in video production and Adobe Creative Cloud, go here.
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.