PremierePro

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

Recently in Product Focus

Premiere Pro CC 2015

Today we are extremely excited to be releasing the newest version of Premiere Pro CC, which is accompanied by all-new versions of our creative video and audio desktop apps, including Prelude, After Effects, SpeedGrade, Adobe Media Encoder, and Audition, alongside a powerful new mobile application for iOS, Adobe Hue, an update to Premiere Clip and the first public preview of Adobe Character Animator (installed as part of After Effects). Learn more about this entire release here.

 

Creative Cloud members and trial users will be able to download and install these applications today using the Creative Cloud desktop application, or online from http://www.adobe.com/creativecloud.html.

 

PLEASE NOTE: that the 2015 Creative Cloud releases are designed to remove previous versions of the CC apps. More information on this and how to adjust this default behavior can be found here.

 

The 2015 release of Premiere Pro CC contains all of the amazing features we previewed at NAB 2015 in April, including the new Color workspace featuring the Lumetri Color Panel and powerful new real-time scopes, Morph Cut, an improved Premiere Clip workflow, Time Tuner, task oriented Workspaces, expanded format support, audio workflow enhancements, caption burn-in, editing refinements, and improved support for Windows touch devices. Full information on these features can be found here.

 

The inclusion of Creative Cloud Libraries in Hue, Premiere Clip, Premiere Pro, and After Effects, powered by Adobe CreativeSync, make creative assets like Looks and graphics automatically available across a user’s applications, as well as empowering collaborative workflows between team members via shared Libraries. Jump start your creative projects by quickly searching over 35 million quality images and graphics in the new Adobe Stock image service. Subscribe to an Adobe Stock stand-alone plan, or get the best value when you buy it as part of your Creative Cloud subscription.

 

In addition to the significant number of new and enhanced features, this release also includes hundreds of bug fixes and stability improvements, including greatly improved Mercury Transmit performance. A full list of fixed bugs can be found here.

 

Alongside the key features described above and in the original blog post, there are multiple other improvements, a full list of which appears below.

 

  • New native formats are supported: JPEG 2000 MXF Op1a, Panasonic 4K 444, Canon XF-AVC XC10, DNxHD with compressed alpha, and Dolby 5.1 export
  • Looks applied in Premiere Clip now pass through to Premiere Pro (requires latest version of Premiere Clip)
  • A composite view is shown in the 2-up display in the Program Monitor when drag-trimming an edit point in the timeline
  • A Video Mixdown option is available when exporting AAF
  • The anchor point can be dragged in Direct Manipulation
  • Consolidate and Transcode now supports handle durations of up to 999 frames
  • Fielded footage can be monitored over HDMI
  • Trim and Nudge can use the same keyboard shortcut
  • ProRes media performance has been improved by up to 2x on Mac
  • A ‘Hide’ checkbox has been added to the Project Panel, and a ‘View Hidden’ option to the contextual menu in the Project Panel, so that users can have items in sequences which are not visible in the Project Panel by default
  • A ‘Preserve Alpha’ checkbox has been added to Consolidate and Transcode
  • Support for RED DEB, REDcolor4 and DRAGONcolor2 has been added
  • Up and down cursor arrows can be used to adjust numerical parameters
  • The maximum sequence size is now 16K
  • The Project Panel can be sorted by XMP metadata
  • Input only devices can be used on the Mac without needing to create an aggregate device
  • Source Settings for RAW formats now appear as intrinsic Master Clip Effects, and Source Settings can be applied to multiple selected clips in the Project Panel
  • Master Clip Effects can be removed from the Project Panel
  • 4-point editing has been improved by enabling Ignore Source Out
  • Clip Markers are still displayed in the timeline for tracks set to minimum height
  • In loop playback Trim mode in the program monitor, the I and O buttons can be used to adjust the position of the edit point on the fly
  • Keyboard shortcuts can be assigned to Play Audio In to Out and Play Video In to Out
  • A Revert Trim Session button can be added to the Program Monitor to enable an edit point to be returned to its original position before Trim Mode was entered
  • The transition UI has been restored in the Effects Control Panel
  • An eyedropper tool is available in the Color Matte dialog
  • Improved support for discontinuous timecode in Multicam workflows
  • Subsequences can be created from parts of a sequence

Adobe Media Encoder CC 2015

Today we are extremely excited to be releasing the newest version of Media Encoder CC, which is accompanied by all-new versions of our creative video and audio desktop apps.

 

Creative Cloud members and trial users will be able to download and install these applications from today using the Creative Cloud desktop application, or online from http://www.adobe.com/creativecloud.html. Please note that the 2015 Creative Cloud releases are designed to remove previous versions of the CC apps. More information on this and how to adjust this default behavior can be found here.

 

The 2015 release of Media Encoder CC contains all of the amazing features we previewed at NAB in April, including Time Tuner, expanded format support including JPEG 2000, Dolby Digital multichannel support, QuickTime audio channelization, new UI appearance preferences, and improvements to Creative Cloud publishing. Full information on these features can be found here.

 

In addition to the significant number of new and enhanced features, this release also includes many bug fixes and stability improvements. A full list of fixed bugs will be posted to this blog in the coming days.

 

Alongside the key features described above, there are severa; other improvements, a full list of which appears below.

 

  • Rewrap compatible video streams in to a QuickTime wrapper easily with the new QuickTime rewrap preset
  • An option to set a custom start timecode for your export preset
  • Better logic for detecting when you’ve selected an image sequence for import

Revealing the next release of Premiere Pro: Creativity just got a lot more colorful.

With Creative Cloud, your creative toolset is constantly evolving. Today, we’ve very excited to be able to reveal all-new versions of our digital video and audio desktop apps, coming soon, including Prelude, After Effects, Audition, Adobe Media Encoder, SpeedGrade, and of course Premiere Pro, alongside the introduction of a brand new animation app, Adobe Character Animator, that brings 2D characters to life, and new mobile technology codenamed Project Candy, to create Looks on your phone. Learn more about the other video and audio releases coming to Creative Cloud here.

 

Watch the overview video, introducing key video features in the next releases:

 

Adobe will present a special webcast on April 16 showcasing all the upcoming features. Shot right on the NAB show floor, the webcast will provide a chance to see highlights of the release and chat in real-time with presenter Jason Levine and #TeamAdobe. Register now to join us online.

read more…

What’s Coming Next to Adobe Media Encoder

NAB is just around the corner and it’s time to show you what we’ve been working on in Media Encoder, our powerhouse encoding and rendering application.

Time Tuner

Our marquee feature for the next release is Time Tuner, which lets you adjust the duration of content without painstaking micro-editing, something that has become more and more important in the age of multiple broadcast deliverables. We sometimes use the term “Adobe magic” to describe those features that really make you go wow – and Time Tuner is definitely one of them.

 

 

Set the target duration and Time Tuner gets right to to work, automatically adding or removing frames at scene changes, in sections with still images or low visual activity, or during quiet audio passages. You can change the duration by up to 5% with predictable results, but even up to 10% in some cases.

read more…

Premiere Pro CC (2014.2) Release

Today we’re announcing the release of Adobe Premiere Pro CC 2014.2, which contains some important editing enhancements, including support for Arri Open Gate media, the ability to set transitions and still image default durations in seconds or frames and Cineform Export improvements. We’ve also improved scrubbing and shuttling in long GOP MXF files. In addition, QuickTime and Cineform codecs are now available for use as sequence preview file formats on Windows.

Download Premiere Pro CC (2014.2) via Creative Cloud on your desktop, or online through your Creative Cloud account.

For this release, we focused our efforts on addressing the most critical issues that affect customer workflows. With this goal in mind, a large number known issues and bugs have been fixed. Here are some of the notable issues resolved:

read more…

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

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

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

GoPro read more…

A note on Premiere Pro CC 2014.1 project files

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

 

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

 

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

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

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

GG_PPro read more…

Bugs fixed in Premiere Pro 2014.1 Release

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

 

Import

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

Growing File

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

 

Export

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

 

Playback

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

 

Audio

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

 

Project panel

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

 

Subclip

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

 

Editing/Timeline

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

 

Multicam

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

 

Effects

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

Effects, Masking and Tracking

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

Effects, 3rd Party

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

 

Markers

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

 

GPU

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

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

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

 

Interop

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

 

Miscellaneous

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

 

 

Premiere Pro CC 2014.1 Release

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

 

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

 

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

 

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

 

 

 

 

 

 

 

Creatives all over the world are producing amazing work with Premiere Pro -

Tell us your story HERE

Ask a Video Pro Webinars

Recent Sessions

A Front Row Seat - webcast presented by Jason Levine & special guest, Siân Fever LIVE from IBC Show 2015
Replay

Using Character Animator - presented by Dan Ramirez
Replay

Filmmaking from Scratch - presented by Dave Basulto
Replay

My Filmmaking Toolkit - presented by Maxim Jago
Replay

Think Like a Colorist, Work Like an Editor - presented by Robbie Carman
Replay

The Editor's Journey - presented by Vashi Nedomansky
Replay

What’s Next for Adobe Pro Video Tools - presented by Jason Levine from NAB Show 2015
Replay

Managing Video Formats with Adobe Media Encoder - presented by Joost van der Hoeven
Replay


The Filmmaking Workflow with Premiere Pro & Creative Cloud - presented by Christine Steele
Replay


After Effects for (almost!) Everyone - presented by Joost van der Hoeven.
Replay



Boost Your Career with a Killer Reel presented by Rod Harlan
Replay