PremierePro

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Adobe Premiere Pro CC (7.1), October 2013

As part of Creative Cloud, we are able to bring exciting new features to Adobe Premiere Pro far quicker and more regularly than ever before to help you stay a step ahead.  Less than 4 months after the CC releases shipped, Creative Cloud will be adding over 150 new features that greatly improve video workflows, with significant new updates to Adobe Premiere Pro CC, After Effects CC, SpeedGrade CC, Prelude CC, Adobe Media Encoder CC, Adobe Story and previewing a brand-new iPad app, Prelude Live Logger.  We’ll be demoing these new features at the IBC tradeshow this week, and they will be available to all Creative Cloud members soon.  Learn more about all the new Video releases here, and see an overview video of the new features in Premiere Pro here.

Our forthcoming October 2013 release of Premiere Pro CC brings a slew of new features to allow editors to work faster than ever, at higher fidelity, with previously unimagined access to rich color grading and processing tools.

Color is becoming increasingly important throughout an entire production workflow, and the addition of the Lumetri Deep Color Engine in the June 2013 Premiere Pro CC release gave editors the ability to work with beautiful SpeedGrade grades right inside the application. With this release, SpeedGrade has fully implemented the Mercury Playback Engine from Premiere Pro, and a brand new workflow between the two applications is being introduced, namely Direct Link. With Direct Link, editors can save a project in Premiere Pro and then open the sequence they were working on directly in SpeedGrade, with no need to deal with interchange formats or any kind of conversion. SpeedGrade then opens the sequence in a familiar timeline that more closely matches how you work in Premiere Pro. You can access all the clip edit points, transitions, and layers, using the same track layout as Premiere Pro. From there, create your grades, and then reopen the same project in Premiere Pro with all your color work fully intact. This workflow uses no interchange formats and no importing or exporting – it’s just the same Premiere Pro project moving between the two applications.  See a quick demo video here.

Responding to rapid changes in the industry with the move to Ultra High Definition 4K formats and beyond, Premiere Pro’s outstanding native media support has been given a major boost this release. New native file format support for Cinema DNG, Sony RAW, Phantom Cine, improved MJPG from Canon 1DC, Sony XAVC Long GOP, Panasonic AVC Ultra (Long GOP), 64 bit ProRes decoding (Mac OS X 10.8 or higher only), and support for exporting XAVC up to 4K and AVCi200 is included, and Cinema DNG can be debayered on a supported GPU for even better performance. For the highest resolution, RED Dragon 6K is also natively supported, with full RED color science built in. And if a high-powered system isn’t available, improved capabilities for relinking from proxy media back to full resolution, combined with brand new editable sequence settings, make this kind of work much easier.  See a quick demo video of the new format support video here.

A host of new editing features are included in this release designed to speed up the creative process. The new Monitor Overlays feature allows for critical information to be superimposed in both Source and Program Monitors. Designed to be flexible and customizable, editors can select which metadata is displayed and where, so important information such as clip timecode, edit point indicators and marker comments can be seen at a glance and in context. Other new editing features like single-click frame hold, rippling of sequence markers, faster maximum JKL speeds (up to 32x), leaner trim icons, drag-drop support for After Effects transitions from popular third-parties like GenArts, new slimmer trim cursors, all add up to this being an essential release for modern editors. See a quick demo video here.

Multicam workflows have been further enhanced, with easy control over the ordering of angles, and the ability to switch angles on and off, making working with large numbers of camera angles simple. Working with multicam source sequences is also improved, with Premiere Pro now displaying a composite view during the edit, so the multicam view matches the final output, and displays any applied scaling or effects.

We continue to strive to bring regular, feature-rich releases to Adobe Creative Cloud, and the October 2013 release is a great example of how passionate we are about bringing editors the features and workflows they need to work fast and as creatively as possible in the world of modern production.

Other new features in this October 2013 release of Premiere Pro CC include:

  • Back button added to Media Browser
  • Sequences have thumbnails that Hover Scrub in Icon view in the Project Panel
  • The Add Edit command overrides track targeting, favoring instead the selected clips under the playhead
  • The Edit To Tape dialog supports JKL shortcuts
  • Negative speeds can be set in the Clip Speed/Duration dialog for reverse playback
  • Audio channel layouts can be selected during QuickTime export
  • The Clip Name effect provides three naming options (Sequence Item Name, Project Item Name, File Name)
  • The Timecode effect automatically matches the Time Display parameter (or timebase) to the source clip
  • Transitions can be pasted to multiple edit points
  • All Effect parameters have individual reset buttons
  • Support for reading captions from MXF files (SMPTE 436M ancillary data track) as well as writing captions to the MXF OP1a format
  • Support for decoding and re-encoding CEA-708 captions.
  • Captions in QuickTime movies can be read regardless of the video codec
  • Caption files with a *.dfxp filename extension can be imported
  • Camera angles in Multicam source sequences can display camera angles as track names or clip names
  • New preference to allow the trim type of a previously selected point with the cursor
  • Improved, GPU accelerated Direct Manipulation
  • Multiple clips and sequences can be sent to Adobe Media Encoder at once

 

  • +1 more feature – decided by YOU

We asked. You answered.  Many of the JDI feature requests submitted are already IN the list above, now you have the chance to help us decide one more feature that will be coded at the IBC Show and included in the October 2013 release.  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:

    1. 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.
    2. 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.
    3. In/Out Ripple Delete: Ripple Delete works on in/out ranges not just selection
    4. Add Keyframe Shortcut: An Add Keyframe keyboard shortcut.
    5. Toggle All Target Shortcut: Ability to toggle target all tracks on and off at the same time.

Adobe Media Encoder CC October 2013 Release

The next version of Adobe Media Encoder CC is aimed at helping creatives and AME users deliver their projects faster and more easily, even with the growing number of projects that are processed each day.  With the new Adobe Media Encoder CC, we are introducing a range of features that will help you do just that. To view some video demoing our new features, visit our Adobe TV page.

Here is a little more detail on the top new features in development for the next versions of Adobe Media Encoder CC.

  • GPU Enabled Rendering –The Mercury Playback Engine inside of Adobe Media Encoder CC is now GPU enabled.  This allows you to speed up many of your everyday operations by taking full advantage of your hardware.  Tasks such as scaling, pixel format conversions and de-interlacing will all be faster to name a few.
  • Automated Image Processing – With the addition of GPU acceleration, Adobe Media Encoder CC helps you create customized output of media including watermarks and TimeCode overlays as well as image processing, such as Lumetri Look or LUTs.  You can pick from presets that ship with Adobe Media Encoder or pick from ones you have created yourself.
  • Sync Settings – Never again waste time customizing your software every time you use a different machine.  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 Adobe Media Encoder CC.
  • Format Updates – A number of importers and exporters have been re-written to deliver fast output on new and popular formats such as AVCI and XAVC.
  • Native Adobe Premiere Pro CC projects – Adobe Media Encoder CC natively imports Adobe Premiere Pro CC projects to help speed up renders and give you some options.  For example, you can choose to render a whole stack of sequences from a Premiere Pro CC project file.

 

Keep checking our product blogs, product pages on Adobe and Adobe.com itself for the latest news and updates.  To learn more about these updates, visit our IBC 2013 page.

 

Adobe Prelude CC (2.1), October 2013

Just 4 months after the CC releases shipped, Creative Cloud is already adding over 150 new features that greatly improves the video products and workflows.  Today we are proud to reveal the new features that are coming to the next version of Adobe Prelude CC as well as our other professional video and audio applications Adobe Premiere Pro CC, After Effects CC, Audition CC, Adobe Media Encoder CC and SpeedGrade CC. To learn more about these updates, visit our IBC 2013 page.

The next version of Prelude CC is full of new features to empower and improve your postproduction workflows and to help you jump-start your production.  You will 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 CC accelerates logging and clip editing with new features such as the ability to export clips and subclips, support for still images,  and the ability to export your markers list to name a few.  To view some video demoing our new features, visit our Adobe TV page.

Here is a little more detail on the top new features in development for the next versions of Prelude CC.

  • Prelude Live Logger – This is an iPad app that is in development and allows you to log live events and on set productions as they are happening with Prelude Live Logger.  Once logged on the iPad, you would be able to send the timecode synched markers in an XMP wrapper to Prelude CC desktop via the Creative Cloud. Import and combine single or multiple XMP files with your video assets using the Prelude CC Unassociated Metadata workflow.  See it in action.
  • Export clips, subclips and rough cuts — Send clips, sub-clips, and rough cuts directly from the Prelude CC project panel to Adobe Media Encoder CC for quick and efficient export of your logged assets.
  • Export Marker List – Export printable lists of markers for quick review and reporting on logged assets in your Prelude CC project.  Export in either CSV, easy for excel, or in HTML, an easy to read format with thumbnails.  Easily allow Producers to provide editors with a simple, easy-to-read shot list and comment marker sheet.
  • Expanded XMP Support – Capture and use the richest media possible, faster.  With added support of new formats such as GoPro, continue to ingest and log your preferred footage in its native file format, enabling greater control over the creative process.
  • Still Image Support – Import Still images into Prelude CC projects to organize, use in rough cuts, and for streamlined ingest into Adobe Premiere Pro CC.

Keep checking our product blogs, product pages on Adobe and Adobe.com itself for the latest news and updates. This new version of Prelude CC will be available to Creative Cloud soon.

 

What is a JDI? ‘Just do it!’

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:

  1. 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.
  2. 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.
  3. In/Out Ripple Delete: Ripple Delete works on in/out ranges not just selection
  4. Add Keyframe Shortcut: An Add Keyframe keyboard shortcut.
  5. 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.

Premiere Pro CS6 (6.0.4 / 6.0.5) update

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.

You should install the update using the methods described above, but you can also download the updates directly for Mac OS or Windows.

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.

A list of bugs fixed in the Premiere Pro July 2013 update

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:

 

Import

  • 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

  • Growing file sometimes becomes media offline while editing
  • Growing file sometimes goes offline while editing

Capture

  • 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]

Export

  • [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

Control Surface

  • 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]

Playback

  • 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

Audio

  • 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

  • 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

Relink

  • 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

Timeline/Editing

  • 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”

Multicam

  • 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

Markers

  • 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

Closed Captions

  • 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.

 

Premiere Pro CC (7.0.1), July 2013

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.

Premiere Pro CC is Available Now!

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!

 

OVERVIEW

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

 

NEW FEATURES

–       Lumetri Deep Color Engine

–       Audio Enhancements

–       Editing Finesse

–       Link & Locate

–       Sync Settings

  • BLOG – Use Sync Settings for sharing keyboard shortcuts, preferences, effect presets, and workspaces: http://adobe.ly/129fQJq

–       Native-Format Workflows

–       Premiere Pro CC & Prelude CC

 

CREATIVE CLOUD

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

 

ADDITIONAL RESOURCES

–       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/

 

QUESTIONS???

–       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

 

 

 

Adobe Premiere Pro CC and GPU support

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.

Improved GPU support in Adobe Premiere Pro CC

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:

 

Windows:

 

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)

 

 

Mac:

 

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)

 

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