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 (Please note that the list currently displayed on this page is out of date, and will be corrected soon.)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)

The settings that can be synchronized in this way correspond to the entries in the Sync Settings category in the Preferences dialog box:

• Preferences/Settings
• 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.

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.

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.

User interface

▪ 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

Effects

▪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

Performance

▪ Multiple GPU export support

▪ OpenCL processing on Windows

Audio

▪ 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

Miscellaneous

▪ 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.

The next version of Adobe Media Encoder is full of new features that allow it to continue to be the backbone of many postproduction workflows. Whether you use Adobe Premiere Pro, Adobe Prelude or Adobe After Effects to name a few, you can be sure that Adobe Media Encoder is running in the background to help.

You can see the features in action on the NAB Reveal webpage, and if you are in Las Vegas at NAB, come on over to the Adobe booth to see some demos and to talk with us.

When can you get your hands on these upcoming features? Although the next versions of Adobe Pro Video apps aren’t available now, we’re offering a NAB Show special to get 40% off your first year of Adobe Creative Cloud membership (only $29.99/month), and you’ll automatically get these new features as soon as they are available. You can check out upcoming top features coming to the next versions here. Creative Cloud is available for individuals or teams. www.creativecloud.com

Here is a look at some of the top new features coming to the next version of Adobe Media Encoder.

•  (Enhanced) Output to virtually any screen, device, or format – Quickly and easily output your work for virtually any video or device format including DNxHD and ProRes.  Customize, set and organize your favorite presets in the Preset Browser for fast export and batch encoding in the background.
•  Match Source Settings for H.264 and MPEG-2 exporters – Save time and automatically have your output sync with your input through Match Source Settings.  It is easier than ever to be able to chance format + bandwidth while ensuring the integrity of frames per second.
• Export Closed Caption data – Export closed caption tracks seamlessly with Adobe Media Encoder from Adobe Premiere Pro sequences. Adobe Media Encoder exports closed caption tracks from Premiere Pro sequences as a separate “sidecar” file that contains the caption data. For QuickTime exports, you can choose to export the data either as a separate sidecar file, or embed the data within the output file.
• Enhanced integration with Adobe After Effects – Export Adobe After Effects compositions directly into Adobe Media Encoder saving time and ensuring a smoother workflow. Several export formats previously available in After Effects are now available within Adobe Media Encoder.
• (Enhanced) Support for Avid DNxHD Assets – Adobe Media Encoder easily supports the import and export of Avid DNxHD assets with no need to install additional codecs.
• New MPEG-2 exporters – Performance enhancements and a UI redesign were done to MPEG-2, MPEG-2 Blu-ray and MPEG-2-DVD export formats.
  • Quality slider now has a range of 1-100 instead of the previous 1-5
  • New layout matches H.264 and other newer exporters
  • Enhancements to SurCode for Dolby Digital audio codec – This audio codec is now available for MPEG-2, MPEG Blu-ray, MPEG-2 DVD, H.264 an d H.264 Blu-ray exporters.

My colleague, Todd Kopriva, has written a more technical piece on Adobe Media Encoder centered on Adobe After Effects here. This piece is great at showing Adobe Media Encoder’s value to the other professional video products.

There is a look at the top new features coming to the next version of Adobe Media Encoder. Please continue to follow the Premiere Pro blog, Adobe Media Encoder site, and user forums for updates on Adobe Media Encoder in the coming weeks.

To discuss these new changes and features, please visit the Adobe Media Encoder user-to-user forum.

Today we are revealing the next version of Adobe Prelude as well as our other professional video and audio applications – Adobe Premiere Pro, After Effects, SpeedGrade, Adobe Media Encoder and Audition.  To see all the top new features in the future versions of these apps, click here.

The next version of Prelude is full of new features to empower and improve your postproduction workflows.  You’ll save time with an intuitive, keyboard-driven workflow, entering temporal markers and other searchable metadata while keeping your eyes on what matters most: your footage. With expanded file support for ingest and transcoding, Adobe Prelude accelerates shot-logging with new features like hover scrubbing thumbnails in the Project panel, file renaming during ingest, and metadata templates which ensure that key information is always added. Export rough cuts directly through Adobe Media Encoder to share your vision on virtually any device. And you can collaborate in new ways with your team with new Prelude integration for Adobe Anywhere for video and Adobe Story.

Although the next version of Prelude and the other professional video and audio apps aren’t available now, we’re offering a NAB Show special to get 40% off your first year of Adobe Creative Cloud membership (only $29.99/month), and you’ll automatically get these new features as soon as they are available.

Here’s a little more detail on the top features coming to the next version of Prelude:

• Hover scrub thumbnails – Quickly review clips in the Project panel by hover-scrubbing thumbnails—no need to open the clip to see what is there. Click the clip, make it active and play it (including audio) using standard keyboard controls.
• Rename files on ingest -Apply descriptive names to your files as you ingest so that you can more easily search for and find what you need later.
• Define what information you need on ingested clips – Make sure media is tagged with the appropriate level of detail by creating customize templates that let you mandate what information is collected and applied to clips upon ingest.
• Turn scripts into metadata with Adobe Story – Import a file from Story into Prelude, and turn your script into meaningful, searchable metadata that flows into Adobe Premiere Pro, speeding the editing of projects that rely on finding just the right word.  For more on this check out Wes Plate’s video located on the NAB Reveal page.
• Support for growing files – The next version of Prelude helps you ingest and log growing files. This means post-production and editing work can begin even as production continues. This is great for projects requiring a fast turnaround, such as live-to-broadcast shows. As footage is being recorded by a system such as Omneon Media grid or Sienna PictureReady, Prelude continues to check in to see which files have grown. Prelude then refreshes that material so you can continue to work on your footage.  Additional hardware is required based on volume of growing footage.
• Enable team collaboration with Adobe Anywhere – Prelude will have first class integration with Adobe Anywhere for video enabling for ingest and logging of files to remote servers.  Adobe Anywhere for video is available as a separate purchase and implementation.  Visit the Adobe Anywhere page to learn more.
• Ingest files directly into selected bins – This new feature saves time in organizing footage because the user can direct where the ingested material will appear.  You can now ingest into a project specific bin instead of just the root bin.
• Sony XMPilot Metadata support – you will be able to import the metadata found on a Sony XDCAM HD camera with XMPilot option into Prelude.  Prelude takes the static metadata found with the footage and adds it to the metadata panel.  Essence markers, markers that mark footage with interesting moments, show up as a comment marker in Prelude.  This adds value to your media and allows for easy search ability.
• 64-bit on Windows and Mac – the next version of Prelude will be now natively, 64-bit on both Windows and Mac giving rock solid performance and stability.  Please note Prelude will only be available as 64-bit in future versions.
• Create and Export Rough Cuts – the next version of Prelude offers you the option to export Rough Cuts directly through Adobe Media Encoder to share with others for review or for uploading to video sharing websites.

You can check out upcoming top features coming to all the next versions of Adobe professional video and audio apps here. , and read a preview of Prelude here.  If you are in Las Vegas at NAB, come on over to the Adobe booth to see some demos too!   Please continue to follow the Premiere Pro blog, Prelude website and user forums for updates on Prelude in the coming weeks. To learn more and discuss these new changes and features, please visit the Prelude user-to-user forum.

Click here to view the recording of the seminar.

If you are interested in the applications mentioned in this webcast, see this link: Creative Cloud Membership subscription.

Jacob covered a lot of ground in this webinar and in the Q&A segment at the close. Here are links to relevant information about the topics Jacob covered in his presentation, along with questions asked and answered in the Q&A segment:

main topics covered in presentation

• Waiting for Lightning Overview
  • Using multiple formats in the Timeline
  • Source footage used: supported formats
  • Avid edit with simultaneous Premiere Pro and After Effects conform
    • Premiere Pro and After Effects
    • PSD, AI files
    • Encore DVD encode for entire show
    • Adobe Media Encoder for batch processing and exports
• Workflow
  • Archival footage was captured in Premiere Pro
  • Upconverted in After Effects
  • Creative edit on other system
  • Online lives in Premiere Pro
  • Export to DaVinci Resolve via EDL
  • Back to Premiere Pro for finishing
• Interviews
  • Use of multiple video tracks for 3 different camera angles
  • Use of multiple audio tracks for different sources
  • Folder structure organization at the OS level
  • Importing an EDL
  • Choosing sequence presets
  • Relinking media
  • Scaling and repositioning clips coming from telecine
  • Using dynamic link for text animation
  • Using Edit > Original
• Effects
  • Compositing pixelation, blurs and scratches
• Finishing
  • Grain effect settings in After Effects
  • Nested sequences in Premiere Pro
  • After Effects lights used on text
  • Using track mattes
  • Repositioning clips for versioning
  • Creating a credit roll with Photoshop and After Effects
  • Creative Cloud provides applications during crucial parts of post-production process

miscellaneous and Q&A

• Why was the edit done in Avid? Project started in 2010, so collaboration was stronger in Avid at that time. Now they would use CS6.
• What plug-in was used to achieve grain effects? Cinefilm Dark Energy. The After Effects plug-in version works well.
• Are there any resources from Bandito Brothers to help filmmakers? Search the web for Bandito Brothers workflows.
• How was the sound mix done? AAF files were exported from Avid or Premiere Pro, the final mix done in ProTools.
• Where can users find out more information about “Waiting for Lightning?”
  • Official site, “Waiting for Lightning.”
  • Pro Video Coalition, “Lightning strikes with Danny Way documentary created by Jason Rosenberg.”
  • Many camera formats strike in Waiting for Lightning.
  • “Waiting for Lightning” on iTunes.
  • “Waiting for Lightning” official trailer.

These updates are cumulative Windows-only updates that contain an important change to the code signing to address the issue described on the following pages:

• Security certificate updates
• Certificate revocation FAQ
• Adobe to revoke code signing certificate
• Guidance for IT administrators | Adobe certificate revocation

We strongly recommend that you install these updates.

You can install the updates automatically by choosing Help > Updates, or you can follow the links below for manual download and installation:

• Premiere Pro CS6 (6.0.3) for Windows, which contains all changes in Premiere Pro CS6 (6.0.2) and the code-signing change
• Adobe Media Encoder CS6 (6.0.3) for Windows (64-bit or 32-bit), which contains all changes in Adobe Media Encoder CS6 (6.0.2) and the code-signing change
• Prelude CS6 (1.0.3) for Windows, which contains all changes in Prelude CS6 (1.0.2) and the code-signing change

Ideally, you should install the updates automatically by choosing Help > Updates, but you can also directly download the update packages from the download page for Windows (6.0.3) or Mac OS (6.0.2).

Note that the Premiere Pro CS6 (6.0.3) update is only available for Windows. It contains all of the changes in the Premiere Pro CS6 (6.0.2) update, plus one more change to address an issue described here.

For information about updates for other Adobe professional video applications, see this page.

If you have difficulty with this update, please bring questions and issues to the Premiere Pro forum. Don’t ask questions in the comments on this blog post, which fewer people will see.

We have also been working with several providers of plug-ins, codecs, and hardware devices to assist them in updating their software to fix some errors and crashes. Please take this opportunity to download and install updated codecs, plug-ins, and drivers from these providers, as relevant to your work. For more information about plug-ins and third-party hardware for Premiere Pro CS6, see this page.

We strongly recommend that users of Premiere Pro on Mac OS update to Mac OSX v10.8 for performance and stability improvements in that operating system update.

Updates are cumulative, so installing the Premiere Pro CS6 (6.0.2/6.0.3) update will also provide the fixes and features in the Premiere Pro CS6 (6.0.1) update.

• Windows 8 certification
• updates for HiDPI display, which improves appearance on computers that use Retina Display, such as MacBook Pro computers

• added GPUs to the list of those that Premiere Pro CS6 will use for GPU processing: GT 650M (which is in the newer MacBook Pro computers) and GTX 680

  Note: Premiere Pro can use either OpenCL or CUDA for GPU processing on the GT 650M. The default is to use OpenCL. You can change this in the General project settings.

  For details of GPU acceleration in Premiere Pro, see this page. For details of OpenCL features in Premiere Pro CS6, see this page.

• tearing in image when using XDCAM EX footage
• numeric keypad keys couldn’t be assigned to keyboard shortcuts
• audio deleted when enabling Audio Follows Video without enabling multicam for audio track
• color shift introduced by Three-Way Color Corrector at default settings when GPU acceleration turned off
• color shifts in some imported M2TS assets
• Premiere Pro ignored Command+Option+H command to hide applications on Mac OSX
• Auto-save window appearing over other applications when Premiere Pro was in the background
• crash during auto-save if a third-party effect’s modal dialog box was open on Mac OSX (affects CoreMelt, etc.)
• rendering preview files using OpenCL caused dropped frames in some cases
• rendered preview files not used when restarting Premiere Pro in some cases, including when using certain third-party effects
• when using CUDA on Mac OSX to export a sequence consisting of a very large number of still images (e.g., timelapse), GPU memory could become depleted and output frames corrupted
• audio recorded through Audio Mixer (e.g., voice-over recording) appearing incorrectly as duplicated audio
• channel output mapping for adaptive tracks was reset to default settings for duplicated sequences
• audio waveform displayed incorrectly for clips with speed adjustments
• audio playback for multichannel files too quiet in some circumstances
• markers added during peak file generation not saved if Premiere Pro quit before peak file generation completed
• fixes for QuickTime groiwng files
• some 4:2:2 footage appeared jagged or pixelated in Program Monitor or Source Monitor when no effects applied
• some MXF files going offline, requiring relinking
• relinking to AVCHD media on Mountain Lion (Mac OSX v10.8) not possible for projects created on other operating systems
• automatic relinking of footage occurring incorrectly in some cases
• frames imported out of order for some MPEG assets
• changes to timeline clip channel mapping performed using the context menu for the clip in the Timeline panel Audio were not saved with the project
• Audition opened when choosing Reveal Project In Explorer from context menu for a clip in Premiere Pro Project panel
• multicam source sequences in Source Monitor lost A/V synch when an In point was created
• setting an In point in the Source Monitor created an In point for all clips in the Media Browser directory
• thumbnails not appearing for some XDCAM HD items in Project panel and Timeline panel
• deleting a nested sequence not providing a warning
• layers not correctly counted in PSD file (Photoshop document) if layers contained in groups
• importing a QuickTime file created by the FORK media system also imported the disabled proxy track
• QT32Server failing in some circumstances, disabling ability to use some QuickTime features
• some exported AVC-I files didn’t include appropriate drop-frame timecode information, so appeared with non-drop-frame timecode
• closed captioning metadata was being set incorrectly
• many other fixes in Mercury Transmit and in plug-in SDK, fixing issues with AJA, BlackMagic, Matrox, and other third-party I/O systems for video monitoring, tape capture, and exporting to tape
• various fixes to FCP XML import and export
• crash when removing some effects using Remove Effects command
• crash during OMF export in some circumstances
• crash on Mac OSX when computer wakes from sleep
• various fixes for other crashes
• various performance and stability improvements for CUDA and OpenCL processing

Nvidia has summarized these issues and workarounds on their website. (Click the “Additional Information” tab and read the known issues.)

Here is the relevant part from that page on the Nvidia website:

• There is a known issue in this release where forcing or allowing the system to go to sleep while running CUDA applications on 2012 MacBook Pro models with automatic graphics switching will cause a system crash (kernel panic). You can prevent the computer from automatically going to sleep by setting the Computer Sleep option slider to Never in the Energy Saver pane of the System Preferences.
• There is a known issue in this release where CUDA applications will not automatically engage the discrete GPU on 2012 MacBook Pro models with automatic graphics switching. To run CUDA applications, it is necessary to uncheck the Automatic Graphics Switching checkbox in the Energy Saver pane of the System Preferences.

Nvidia is, of course, working on fixing these issues. We recommend staying tuned to the Nvidia website for updates.

This bug affects Mountain Lion (Mac OSX v10.8) and Lion (Mac OSX v10.7).

We are pleased to announce that Prelude CS6 is now available as a standalone product from Adobe.com for $399 for a perpetual license.

For more information on Prelude CS6, please visit: http://www.adobe.com/products/prelude.html
Videos to help you get started with Prelude CS6 can be viewed at http://tv.adobe.com/product/prelude/
You can download a trial of Prelude CS6 as a part CS6 Production Premium from http://www.adobe.com/products/creativesuite/production.html

If you’re looking for video training on this subject, I recommend Maxim Jago’s Premiere Pro CS6 for Avid and Final Cut Pro Editors, from video2brain. You don’t need to take my word for how good this video series is; the fine folks at video2brain have made some videos available as free samples: round-tripping with Avid Media Composer and Apple Final Cut Pro core editing techniques chromakey Maxim also recorded a full training course for Premiere Pro CS6, which I recommend for beginning and intermediate users, as well as a shorter introductory series for beginners.

If you’re looking for more materials about making the transition from another NLE to Premiere Pro, then you should definitely check out the resources here.

Once an AVCHD folder structure is copied to a computer running Mac OS X v10.8, the subdirectory that contains the media itself will appear with a single QuickTime document (which is in fact a package) inside it. This will most likely be called ‘PRIVATE’ but may have a different name. The screenshot below shows how this will appear in the Media Browser.

Opening the ‘PRIVATE’ package, either by double-clicking the icon on the right hand side or single clicking it on the left of the Media Browser will put the Media Browser into AVCHD mode such that the clips can be imported as normal.

If you prefer to import via the Import dialog box, the QuickTime package will appear with a disclosure triangle which can be twirled down or double-clicked to access the media files.

We have also today discovered a bug when using Premiere Pro with Mac OS X v10.8 in which AVCHD media that has gone offline cannot be successfully relinked. We will be working hard to fix this in a future update, but recommend caution to avoid having to relink offline AVCHD media in the current version of Premiere Pro CS6 (6.0.1).

To discuss these issues or to get help with other other questions and issues, come to the Premiere Pro forum.

Click here to view the recording of the seminar.

To get started with Adobe Story, sign in with your Adobe ID here, or go to the Adobe Story Help & Support page.

Note that Adobe Story Plus is included with a Creative Cloud Membership subscription.

Maxim covered a lot of useful and interesting material, both in the main presentation and in the question-and-answer segment at the end. Here are links to additional information about the main points that Maxim covered in his presentation, as well as questions asked and answered in the Q&A segment:

main topics covered in presentation

• overview of the features of Adobe Story
• overview of differences between Adobe Story Free and Adobe Story Plus
• working with shooting schedules
• working with breakdown reports and production reports, including call sheets
• tagging portions of a script
• automatically tagging a script
• scene properties
• writing aids, including auto-complete, automatic formatting, and format controls
• customizing script templates
• working with set lists and character lists
• working with camera shot information and shooting scripts
• integration with Adobe Premiere Pro and Adobe Story
• viewing a script in outline view
• collaborating with other users, including sharing and commenting on scripts

miscellaneous and Q&A

• how to communicate with the Adobe Story team (for feature requests, bug reports, and more)
• Adobe Story user-to-user forum
• iPhone application for viewing and commenting on scripts
• working offline with Adobe Story Plus
• Adobe Story officially works with the character sets used by English, French, German, Italian, and Spanish. To request other languages and character sets, please submit a feature request.

Also, for Mac OS only, we have released ProRes 422 encoding presets.

IMPORTANT: We do not distribute the ProRes encoders or decoders (codecs). You must get those from Apple. The ProRes encoders are included with various Apple video software, such as Final Cut Pro and Motion.

To install the encoding presets in Adobe Media Encoder CS6, do the following:

1. Download the encoding preset packages:
   • Windows: tablet and MXF encoding presets
   • Mac OS only: ProRes 422 encoding presets
   • Mac OS: tablet and MXF encoding presets
2. Extract (unzip) the package.
3. Start Adobe Media Encoder CS6.
4. In Adobe Media Encoder CS6, choose Preset > Import and navigate to the encoding preset(s) to import. You can choose multiple encoding presets at a time; it is most convenient to select all of the presets in a folder at once.

This video demonstrates the use of the Preset Browser to apply and manage encoding presets.

If you have any trouble, bring questions and issues to the Adobe Media Encoder forum, and we can help you there.

Be sure to read the installation instructions for this new software. Pay special attention to the installation location on Windows for Prelude (a 32-bit applications), which is different than for the 64-bit applications.

James Drake posted a walk-through of the installation process at 5K Insight, which also includes some information about the new features and fixes.

Also, make sure that you’ve installed the latest updates for Premiere Pro, After Effects, Prelude, and Adobe Media Encoder. They fix a lot of problems.

If you have any problems or questions, come to the RED User forum, where several Adobe staff members and RED users can help.

If Adobe Application Manager hasn’t already told you about this, go ahead and check for new updates by choosing Help > Updates. The best way to check for updates is by closing all Adobe applications other than Adobe Bridge, and choosing Help > Updates in Adobe Bridge; this ensures that all processes related to Adobe video applications have been quit and can be updated safely.

Ideally, you should install the updates automatically by choosing Help > Updates, but you can also directly download the update packages from the download page for Windows or Mac OS.

For information about updates for other Adobe professional video applications, see this page.

If you have difficulty with this update, please bring questions and issues to the Prelude user-to-user forum. Don’t ask questions in the comments on this blog post, which fewer people will see.

• concatenation: You can now combine (concatenate) a series of clips into a single asset as part of the ingesting process. (Enable the Concatenate option in the Ingest dialog box.) Concatenation requires Adobe Premiere Pro CS6 to be installed and running on the same computer system as Prelude.
• relinking: You can now reconnect a Prelude project to media files that appear offline because they were moved to another location. (Choose File > Relink.)
• renaming: You can rename a clip in the Project panel by pressing the Return key when the clip is selected.
• smart rendering: When creating a new asset during either the “partial ingest” or concatenation process, Adobe Media Encoder can create the new asset using the encoded video data from the original assets(s), without re-encoding. This ability to pass the video data through without transcoding is limited to a small number of formats, including DV, DVCPro, and MXF Op1a XDCAM HD and XDCAM EX.
• API improvements: Improvements to the API for technical partners creating custom panels and markers include improvements for tighter integration and the ability to use time-of-day strings in markers, rather than only ticks or frames as units for markers’ start and end times. This is especially useful when creating applications that create unassociated metadata workflows, including iPad applications.

For more information about many of these features, see Prelude Help.

• Markers that start or end outside of the boundaries of a subclip are now visible in the timeline when that subclip is added to a rough cut.
• Fixed various crashes, hangs, and sources of error messages.

Here’s the recording.

If you don’t yet have Adobe Prelude, you can order it with CS6 Production Premium now … or try it free for 30 days.

Wes covered a lot of useful and interesting material, both in the main presentation and in the question-and-answer segment at the end.

Here’s a brief outline of what Wes talked about, as well as some links to more information about each subject:

What is Adobe Prelude?
Adobe Prelude is an application for ingesting, logging, and optionally transcoding tapeless media and assembling clips into rough cuts for use in an NLE (a nonlinear editing application). In addition to the summary in Wes’s presentation, both video2brain and Lynda.com have summaries that answer the question “What is Adobe Prelude?” in their video training courses.

Adobe Prelude intentionally has low system requirements compared with Premiere Pro, allowing Prelude to function on the sorts of inexpensive laptop computers likely to be used in the field and by production assistants and others who are given the task of logging large amounts of footage.

Adobe Prelude is not a direct replacement for OnLocation, which is an application that was used for tape-based media and is not included in Creative Suite 6 or Creative Cloud software packages. If you are using OnLocation, we encourage you to keep using it. If you want features from OnLocation to be included in future Adobe video software such as Premiere Pro or Prelude, let us know with a feature request.

ingesting, transferring, and transcoding media
You can ingest all or part of an asset, optionally transferring the file to a new location and transcoding it. If you ingest only part of an asset, then this partial ingest requires transcoding, which uses Adobe Media Encoder.

logging and metadata
You can add markers of various kinds to clips in Prelude, and these markers are stored as XMP metadata. This adding of markers, including marking In and Out points to make subclips, is known generally as logging. Prelude is designed to log clips using the keyboard, so it’s especially valuable to learn its keyboard shortcuts.

You aren’t restricted to the default set of markers. You can create your own marker templates and add and remove marker buttons from the interface to suit your needs.

Wes showed how “unassociated metadata” could be recorded during an event by someone watching the event and then later associated with the video shot of that same event.

rough cuts
You can create basic rough cuts in Adobe Prelude and either send them to Premiere Pro on the same computer or save them in a format that can be opened by an NLE on another computer. You can even save a rough cut in the FCP XML format recognized by Final Cut Pro 7 and many other applications. Note that a utility such as 7toX from Intelligent Assistance could be used to convert an FCP XML file to the XML format recognized by Final Cut Pro X.

where to go next
If you have questions, bring them to the Adobe Prelude user-to-user forum, and Wes and others on the Prelude team can help you there.

The Adobe Prelude online Help contains links to a lot of useful information, including many video tutorials.

If Adobe Application Manager hasn’t already told you about this, go ahead and check for new updates by choosing Help > Updates. The best way to check for updates is by closing all Adobe applications other than Adobe Bridge, and choosing Help > Updates in Adobe Bridge; this ensures that all processes related to Adobe video applications have been quit and can be updated safely.

Ideally, you should install the updates automatically by choosing Help > Updates, but you can also directly download the update packages from the download page for Windows or Mac OS by choosing the “Adobe Premiere Pro CS6 6.0.1 Update” for your operating system.

For information about updates for other Adobe professional video applications, see this page.

If you have difficulty with this update, please bring questions and issues to the Premiere Pro forum. Don’t ask questions in the comments on this blog post, which fewer people will see.

We have also been working with several providers of plug-ins, codecs, and hardware devices to assist them in updating their software to fix some errors and crashes. Please take this opportunity to download and install updated codecs, plug-ins, and drivers from these providers, as relevant to your work. For more information about plug-ins and third-party hardware for Premiere Pro CS6, see this page.

We strongly recommend that users of Premiere Pro on Mac OS update to Mac OSX v10.7.4 for performance and stability improvements in that operating system update.

• Improved performance using OpenCL, especially when used on Mac OSX v10.7.4 or later.

  For details of GPU acceleration in Premiere Pro, see this page. For details of OpenCL features in Premiere Pro CS6, see this page.

• Added encoding presets with additional bit-rate settings for XDCAM HD.

• Added Automatic Peak File Generation preference in the Audio category for turning off automatic peak file generation for imported audio. By default, this preference is enabled and matches the behavior of Premiere Pro CS6 (6.0.0).

  When this preference is disabled, importing audio or opening projects will not cause peak files to be generated. If peak files were already generated, then waveforms will be visible. Files imported before the preference was disabled will continue to generate peak files.

• Enabled “smart rendering” and added Enable Smart Rendering Codec setting to the Video tab of the MXF OP1a exporters for XDCAM HD and XDCAM EX to enable or disable smart rendering for these formats. This option defaults to the off/disabled state. We’ll have more information about this feature in a post on this blog soon.
• Added support for import of files and use of growing files from Sony XDCAM deck (XDSPE2000)

See details of the Adobe Media Encoder CS6 (6.0.1) update for more information about changes that affect output from Premiere Pro CS6.

• Start timecode was not imported or exported correctly when working with AAF files.
• Some files from the Canon 5D Mark III camera were imported with the wrong timecode.
• Playing/viewing waveforms in the Source Monitor caused audio dropouts with some XDCAM HD clips.
• NTSC MXF OP1a files that were exported with drop-frame timecode had video data that was tagged as non-drop-frame.
• Switching the Renderer project setting from Mercury Playback Engine Software Only to Mercury Playback Acceleration GPU Acceleration on a computer using OpenCL caused Premiere Pro to crash under some circumstances. Switching between the two settings on a computer using CUDA would in some cases cause problems with video and/or audio playback.
• Crash when using full-screen, cinema mode on some computer systems.
• Tape capture was not working correctly with some third-party systems.
• Crash when capturing from tape using some BlackMagic hardware.
• An extra, black frame was included at the end of the output when exporting to P2 MXF in some circumstances.
• First two frames were being played twice on external monitor using Matrox MXO2.
• Crash when using “hover scrub” with Matrox MXO2.
• Audio/video synchronization was off by a few frames when playing video on external monitor.
• The Export Frame button was not exporting the correct frame, instead exporting a frame one or two frames away from the current frame.
• Some audio files and some MXF files would go offline or have their audio reconformed when the project was re-opened or when Premiere Pro was minimized or lost focus.
• Crash when modifying an effect property while playback was occurring.
• Hang/freeze when using a dissolve transition on an adjustment layer.
• Dropped frames and audio/video synchronization issues when exporting to tape using some third-party hardware.
• Information about dropped frames on output to tape was not accessible to third-party systems.
• Some QuickTime files were imported with the wrong field order.
• When audio was sent through a Mercury Transmit plug-in, any number of channels that was not 2 or 6 was treated as mono.
• In HDV editing mode, File > Export > Tape could not be used with third-party hardware.
• The current-time indicator (playhead) was not returning to the current time after using the Play Around command.
• Last several frames of output when exporting to tape were black.
• When encoding a 23.976 fps video to H.264, the duration of the video in the output .m4v file was too short, and audio drifted out of synchronization with the video.
• Transparency (alpha channel) information from a dynamically linked After Effects composition was rendered incorrectly in Premiere Pro.
• Importing some QuickTime OP1a files caused Premiere Pro to hang.
• The duration of the audio track sent to SpeedGrade using the Send To SpeedGrade command was the length of the entire Premiere Pro sequence, not the length of the work area.
• Timecode written to trimmed clips using the Project Manager did not match the source timecode for some QuickTime files.
• Various other crashes.

See details of the Adobe Media Encoder CS6 (6.0.1) update for more information about changes that affect output from Premiere Pro CS6.

Here’s the recording.

This seminar was recorded before Premiere Pro CS6 was available. Premiere Pro CS6 is now available, as are other professional video and audio applications in Creative Suite 6 Production Premium, including Adobe Prelude and SpeedGrade. You can order CS6 Production Premium now … or try it free for 30 days.

For details of all that’s new and changed in Premiere Pro CS6, see this page.

Al covered a lot of useful and interesting material, both in the main presentation and in the question-and-answer segment at the end.

Here’s a brief outline of what Al talked about, as well as some links to more information about each subject:

some components of Creative Suite and Creative Cloud other than Premiere Pro

• Creative Cloud
• Adobe Story
• Adobe Prelude
• SpeedGrade

Mercury Playback Engine and performance

• OpenCL in Premiere Pro CS6
• details of CUDA, OpenCL, and the Mercury Playback Engine
• red, yellow, and green render bars and rendering previews

user interface redesign, concentration on media

• full-screen cinema mode
• hover scrubbing and other changes in the Media Browser and Project panels
• button editor and other changes in Source Monitor, Program Monitor, and Timeline panels
• keyboard shortcut changes

editing efficiencies

• dynamic trimming and improved keyboard trimming, including JKL trimming
• uninterrupted playback (“don’t stop playback”) and effects
• multi-camera editing improvements
• matching sequence settings to a clip

effects

• Warp Stabilizer effect
• redesigned Three-Way Color Corrector effect
• adjustment layers
• Rolling Shutter Repair effect

audio improvements

• improved audio tracks and multichannel audio output
• improved Audio Mixer and Audio Meters panels

tape workflows

• capturing from tape
• batch capturing
• exporting to tape

miscellaneous and Q&A

• bug reports and feature requests
• more on feedback for Premiere Pro
• CinemaDNG
• plug-ins and the Premiere Pro SDK

If Adobe Application Manager hasn’t already told you about this, go ahead and check for new updates by choosing Help > Updates. The best way to check for updates is by closing all Adobe applications other than Adobe Bridge, and choosing Help > Updates in Adobe Bridge; this ensures that all processes related to Adobe video applications have been quit and can be updated safely.

Ideally, you should install the updates automatically by choosing Help > Updates, but you can also directly download the update packages from the download page for Mac OS or Windows by choosing the “Adobe Media Encoder CS6.0.1″ update for your operating system.

For information about updates for other Adobe professional video applications, see this page.

If you have difficulty with this update, please bring questions and issues to the Adobe Media Encoder forum. Don’t ask questions in the comments on this blog post, which fewer people will see.

• Added encoding presets with additional bit-rate settings for XDCAM HD.

• Enabled “smart rendering” and added a setting to the Video tab of the MXF OP1a exporters to enable or disable smart rendering for these formats.

  Full use of this feature also requires the Premiere Pro CS6 (6.0.1) update.

• Some encoding presets and codecs (MPEG-2, Dolby AC3) were missing from Adobe Media Encoder if activated using a yearly Creative Cloud Membership subscription license.
• Canon 5D Mark III files were imported and interpreted using the Rec. 601 color space instead of the correct Rec. 709 color space.
• NTSC MXF OP1a files that were exported with drop-frame timecode had video data that tagged as non-drop-frame.
• In some cases, 23.976fps H.264 output had incorrect video duration, causing audio and video to be out of synch.
• Colors shifted in some H.264 and MPEG-2 output.
• Exporting a WMV file failed in some cases, and in some cases caused audio and video to be out of synch.
• Some multiplexed H.264 Blu-Ray files caused faulty Blu-Ray Discs in Encore.
• Import of some files caused the application to hang or took an extremely long time to complete.
• Some QuickTime files were imported with the wrong field order.
• Some additional causes of crashes were fixed.

We got a lot of requests from people using computer systems that couldn’t use CUDA—such as those with built-in GPUs from AMD—to expand our GPU acceleration features to also use OpenCL.

So, we did.

In Premiere Pro CS6, nearly all of the things that can be processed with CUDA on certain Nvidia GPUs can also be processed by OpenCL on certain AMD GPUs.

Let me address some common questions:

Everything that Premiere Pro CS6 can process with CUDA, with four exceptions:

• Fast Blur effect
• Gaussian Blur effect
• Directional Blur effect
• Basic 3D effect

In our first iteration of OpenCL processing, we weren’t able to get enough performance improvement for these four effects, so they are for now better left on the CPU. But everything else that Premiere Pro CS6 can process with CUDA can be processed with OpenCL, and that’s a lot.

There’s a lot of detail about that here for Premiere Pro CS5 and CS5.5:
“CUDA, Mercury Playback Engine, and Adobe Premiere Pro”

The only thing added for Premiere Pro CS6 is the Push transition.

AMD Radeon HD 6750M and AMD Radeon HD 6770M graphics card with 1GB VRAM in MacBook Pro computers running Mac OSX v10.7 or later

(See the system requirements page.)

[UPDATE: The Premiere Pro CS6 (6.0.2) update added OpenCL and CUDA functionality for the GT 650M GPU, which is in the newer MacBook Pro computers.]

We are very firmly committed to making Premiere Pro a stable, reliable, high-performance NLE. This involves thoroughly testing the configurations that we recommend and support. We needed to make sure that we could get the best possible performance and stability with these two very common systems before we could consider broadening our support to other systems.

We can’t talk about what we’ll do in the future, but I can ask that you look at how few cards Premiere Pro CS5 could use for GPU acceleration when it was first released, and then note how we’ve added cards to the supported list with several updates and upgrades. We make no promises about our future plans, but you may be able to determine something about our thought process by looking to past behavior.

The most important thing is to make sure that all of your software is up to date. That means making sure that you’ve got the most recent updates for Premiere Pro (choose Help > Updates), as well as making sure that you’ve got the most up-to-date graphics drivers and operating system updates. We are working with our partners, including the makers of graphics cards and operating systems to ensure that our systems work well together, and the best way for you to take advantage of that cooperation is to keep your software up to date.

The Mac OSX v10.7.4 update makes performance with OpenCL significantly better, and Mac OSX v10.8 makes even more improvements.

For details of all that’s new and changed in Premiere Pro CS6, and how to get it, see this page.

Adobe Premiere Pro CS6 In depth: Plug-ins

In addition to listing the plug-ins provided by each company, this page provides links to the companies’ websites, so that you can purchase these plug-ins or find how to contact them for technical support or customer service.

Another great place for information about plug-ins for Premiere Pro and After Effects is the Toolfarm website, which provides an online store as well as tutorials, a forum, and other supporting resources for using plug-ins.

On the hardware compatibility page on the Adobe website, you can find workflow guides for various cameras, as well as documents with details of compatible hardware for GPU acceleration, tape capture, broadcast monitoring, and more.

One of the very big changes in Premiere Pro CS6 is the new Mercury Transmit feature, which makes it much, much easier for third-party hardware developers to write the code necessary to receive video information from Premiere Pro for broadcast monitoring, exporting to tape, et cetera. Check with the vendor for your third-party I/O device to get the up-to-date drivers that make use of Mercury Transmit for Premiere Pro CS6.

If you want to develop plug-ins yourself, see the Premiere Pro Developer Center, where you can download the Premiere Pro SDK and supporting documentation.

Important: There have been few significant changes to the effect plug-in API for Premiere Pro CS6, so you shouldn’t need new versions of most plug-ins for Premiere Pro CS6, if you already have plug-ins that work for Premiere Pro CS5 or CS5.5. There are a few video effects that do require updates; e.g., Boris RED, DVDate, and a few others have needed to make updates to accommodate changes because of the new uninterrupted playback feature. Check the websites of the vendors of your plug-ins to see if you need an update for any reason.

However, beyond changes to the effect plug-ins themselves, some plug-ins come with installers, and (as with CS5.5) these installers may need to be updated to install plug-ins into the correct location.

Toolfarm is maintaining a list of major plug-in vendors and the status of their updates for CS6, and they have some helpful resources for installing plug-ins for which the installers haven’t been updated.

• Creative Cloud forum, which is the best place for questions about Creative Cloud
• Creative Cloud FAQ list
• PDF document with details of activation of perpetual licenses for CS6 software
• videos on Adobe TV demonstrating Creative Cloud features
• order CS6 Production Premium
• order Premiere Pro CS6
• order Audition CS6
• order After Effects CS6

For details of what’s new and changed in the applications in CS6 Production Premium, start with these pages:

• what’s new and changed in Premiere Pro CS6
• what’s new and changed in After Effects CS6
• what’s new and changed in Audition CS6

OpenEXR is a file format that is used for preserving the color precision and range of high-dynamic range (HDR) imagery, such as when you are working in 32-bpc color mode in After Effects and want to output that full color range when passing the output files off to another system. OpenEXR can also include multiple channels to store the results of multiple render passes from a 3D application, so programs like After Effects and Photoshop can access them.

fnord provides very good instructions in a PDF document for the use of these plug-ins. Be sure to use this documentation, since following instructions is crucial for correct use of this software.

After Effects CS4 and later includes the basic ProEXR plug-ins: OpenEXR importer, IDentifier, and EXtractoR. After Effects CS5.5 and After Effects CS6 include version 1.5 of these plug-ins. Version 1.7 of these plug-ins for After Effects are currently available are free. The primary improvement for After Effects users in v1.7 is that the performance of reading OpenEXR files is much improved.

Writing out multi-channel OpenEXR files from After Effects requires the purchase of the non-free ProEXR plug-in bundle.

See this page in After Effects Help for information about ProEXR plug-ins and OpenEXR files in After Effects.

Note that Premiere Pro CS6 and all of the other applications in CS6 Production Premium will also be available as part of Adobe Creative Cloud.

Here’s a link to the snazzy summary of what’s new in CS6 professional video and audio applications, with short overview movies about some of the top features. These PDF documents are a much deeper look at what’s new, so be sure to check them out, too:

• Adobe Premiere Pro, Adobe Media Encoder, Encore CS6 (PDF)
• Adobe Prelude CS6 (PDF)
• Adobe SpeedGrade CS6 (PDF)
• Adobe Story (PDF)

Here are a few good sources of video tutorials and video overviews for Premiere Pro CS6 and related software:

• Video2Brain provides a comprehensive set of movies (by me) covering every new and changed feature in Premiere Pro CS6 and Adobe Media Encoder CS6.
• Rich Harrington has a video training course on the new features on Lynda.com.
• Several Adobe personnel and partners provides feature overviews and tutorials on the Adobe TV site.

Scott Simmons has a good review and overview on the ProVideo Coalition site.

For details of what was added and changed from Premiere Pro CS5 to Premiere Pro CS5.5, see this page.

If you want to ask questions about these new and changed features, come on over to the Premiere Pro user-to-user forum. That’s the best place for questions. Questions left in comments on a blog post are much harder to work with; the blog comment system just isn’t set up for conversations.

• redesigned, efficient, customizable user interface
• dynamic trimming, including trimming with JKL and other keyboard shortcuts
• adjustment layers
• Warp Stabilizer effect
• expanded multi-camera editing, with more multicam angles and improved interface
• improved performance, extending GPU processing to some systems using OpenCL
• new and more powerful audio features, including adaptive audio tracks, customizable audio channel mapping for output, and improved Audio Mixer panel
• new native import of ARRI Alexa, RED Scarlet, RED Epic, and Canon Cinema EOS C300 footage
• improved color features, including integration with SpeedGrade and redesigned Three-Way Color Corrector effect
• improved workflows with other applications in Adobe Creative Suite, as well as with Final Cut Pro and Avid software
• faster Adobe Media Encoder, redesigned to make authoring for multiple outputs and mobile devices easier
• enhanced Adobe Encore for creation of DVDs, Blu-ray Discs, and web DVDs

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.

user interface

• button editor, with which you can customize the buttons in various panels
• improved icon view in Project panel and Media Browser panel, with ability to scrub/preview media in thumbnails (“hover scrubbing”)
• improved usage indicators in Project panel, including tooltips and indications of which sequence(s) a clip is used in
• new default Editing workspace with better use of screen space for video content
• option to remove work area bar and instead use In and Out points for features that previously relied on the work area
• full-screen playback on primary monitor
• dozens of new and changed keyboard shortcuts, with option to continue to use Premiere Pro CS5.5 keyboard shortcuts
• options to show or hide user interface items such as time ruler markings
• new settings buttons and menus in monitor panels for easy access to commonly used view options
• gestural control on Mac computers with trackpads, including pinching to zoom and using two-fingered gestures for scrolling
• full-screen “cinema” mode that shows only content with no UI chrome

importing and sequence setup

• integration with Adobe Prelude for ingest, logging, transcoding, and rough cuts
• alert when adding clip to an empty sequence if sequence settings don’t match footage characteristics, with option to match sequence settings to clip
• new native import of ARRI Alexa, RED Scarlet, RED Epic, and Canon Cinema EOS C300 footage
• new HD color bars and tone, which comply with ARIB STD-B28
• ability to drag items from the Media Browser panel to the Project panel to import them

editing

• improved markers, including import of markers from Adobe Prelude and display of marker comments in time ruler
• dynamic, keyboard-driven trimming in the monitor panels and Timeline panel, without needing to enter the Trim Monitor
• new keyboard shortcuts for working with edit points, navigating in the timeline, and performing other basic editing tasks
• new Render In To Out command for rendering preview for span between In and Out points marked in a sequence
• ability to copy a clip in the Timeline panel by Alt-dragging (Windows) or Option-dragging (Mac OS)

effects and color

• Send To SpeedGrade, which exports a sequence for color work in SpeedGrade
• Warp Stabilizer effect
• Rolling Shutter Repair effect
• uninterrupted playback, which continues previews even while you modify effect properties and perform many other operations
• improved Dynamic Link, including removal of limitation of Dynamic Link to only work within a suite (i.e., Dynamic Link will now work between applications purchased as individual products)
• redesigned Three-Way Color Corrector effect
• double-click to apply effect to selected clips

performance

• GPU processing (Mercury Playback Engine GPU Acceleration) extended to use OpenCL on some systems: AMD Radeon HD 6750M and AMD Radeon HD 6770M graphics card with 1GB VRAM in MacBook Pro computers running Mac OSX v10.7
• use of GPU acceleration by additional effects and transitions, including Warp Stabilizer effect and Push transition
• Mercury Transmit, a new interface making it easier for third-party I/O hardware manufacturers to interface with Premiere Pro, allowing for more robust and stable systems

audio

• new Audio Mixer panel, with features and design from Audition
• redesigned Audio Meters panel
• new standard audio track type, which can contain either mono or stereo audio
• extremely flexible and customizable multichannel audio mapping for output
• ability to choose which clip to use timecode from when using merged clips

exporting and Adobe Media Encoder

• new Preset Browser in Adobe Media Encoder for finding and using encoding presets
• parellel encoding in Adobe Media Encoder, which encodes multiple outputs simultaneously for greater performance
• redesigned Adobe Media Encoder user interface, with panel-based workspaces as in other Adobe professional video applications
• dozens of new keyboard shortcuts in Adobe Media Encoder
• new scaling and cropping options in Adobe Media Encoder, which make it easy to resolve mismatches between output dimensions and source dimensions (e.g., prevent black bars)
• Export to tape will output the sequence duration between the In and Out points instead of the work area if the work area is hidden.

miscellaneous

• removed Device Central, but extended encoding presets for mobile devices in Adobe Media Encoder effectively fill a similar need

Last week, I posted about a timecode issue that a user found with Premiere Pro and QTChange. We contacted the author of QTChange, and they were very responsive. They have updated QTChange to resolve this issue and have released version 2.18, which works correctly with Premiere Pro. So, if you use QTChange, grab the new version.

I would again like to thank Jeff for bringing this to our attention and VideoToolShed for turning around a fix so soon.

If you have a bug to report in Premiere Pro, please do so here. For more information about reporting bugs, making feature requests, getting help, and communicating with us, see this page.

As you may have noticed, we’re beginning to show some details and announce presentations of new versions of our professional video and audio software.

If you want to stay up to date and get the big news as soon as it’s available, I recommend subscribing to the team blogs for the video and audio applications. If you’d like to keep up with a daily stream of information beyond the big stuff that goes on our team blogs, then you should also consider following us on Facebook and/or Twitter.

Here are a few posts that give the details for each major area:

• Audition
• Premiere Pro, Adobe Media Encoder, Encore, and other related video software
• After Effects
• Adobe Story

Thanks to a recent report from Jeff Harrell, we have found a couple of issues with timecode, one of which appears to be in Premiere Pro, and one of which appears to be in QTChange:

1. QTChange uses a value for calculating frame rate and timecode of 23.98 (2398/100) instead of the expected 23.976 (23976/1000 or 24000/1001). We have put a patch in place in a future version of Premiere Pro to deal with other software using this value, and we have contacted the author of QTChange to see if they are interested in improving how they write timecode.

2.  Premiere Pro also has an issue with round-tripping start timecode with AAF files. This is our bug. We have fixed this bug in an internal build, and we are now testing it and determining how we will be able to address this issue in a future release of Premiere Pro.

We really appreciate the fact that one of our users was able to help us to find and isolate these issues. If you encounter such a problem, please let us know. The best way to let us know about a bug is by submitting a bug report. You can (and should) also write in to our forums and ask for help there, and maybe one of us will jump in and help you out on the forum.

I will be at NAB this year running around so come find me and say “hi”. Ask at the Adobe booth; they’ll know where I am.

Thanks for listening, and thanks for letting us know how we can better help you and make the NLE that you want!

This week, we released an update to Adobe Story. When you start the Adobe Story desktop application, you should be prompted to update the application. After you have accepted this invitation to update the application, the update will be downloaded and installed.

In addition to several bug fixes, this update adds many new features. You can see the details of what was added and changed in this update in the release notes.

Here are the high points:

• schedule changes
  • comparing schedules and finding conflicts between them: Story allows you to compare two schedules and find out if any sets or characters are committed to both schedules for the same time.
  • start-of-day breaks and end-of-day breaks: For a schedule, you can choose to have either end-of-day breaks or start-of-day breaks. A day break also collates and displays the total number of pages in the scenes for a day, which gives you an idea of the volume of the script to cover in a day.
  • printing a schedule: You can print a schedule to paper or PDF.
  • automatic calculation of shooting time in a schedule: Story helps you time the strips and days in a schedule.
  • synchronizing only selected properties: When synchronizing, properties that are not selected are not synchronized, and the data is retained in the schedule.
  • … and more: schedule notes, ability to split a scene, information-only banners in schedules
• script changes
  • customizing script view: You can choose to show the script in outline view, expand scenes, and show the scene property panel.
  • ability to import a text, Word, or PDF document as a version of an existing script: When you edit a copy of a script outside of Adobe Story, you can import the document as the latest version of the script.
  • ability to group scenes into acts and view act in outline view: You can group scenes in your script into any number of acts, drag and drop scenes to arrange them in acts, and expand and collapse the acts in outline view.
  • … and more: ability to move entire dialog to next page if it does not fit, script property enhancements
• report changes
  • camera card reports: Story can generate camera card reports for all cameras or only specified cameras.
  • … and more: option to refresh reports when source data is updated, export of reports to HTM format (compatible with Microsoft Word)
• list changes
  • adding image links for a character, actor, or set: You can assign online images to characters, actors, and sets in the respective lists by adding image links to them.
  • ability to disable and enable characters in a character list: You can disable characters in a script’s assigned character list. The disabled characters do not appear in the smart type.
  • ability to assign Set groups to sets

If you have questions or would like to give us feedback about Adobe Story, please come to the Adobe Story user forum. If you’d like to keep up-to-date with news about Adobe Story, here are a few ways to do so.

Representing RED was Ted Schilowitz (“Leader of the Rebellion”), and representing Adobe was Wes Howell, software quality engineer.

To watch the recording, click this link.

Ted and Wes talked about quite a few things in this seminar. Here’s a quick summary, with links to resources for more information about the subjects that they covered:

• Ted showed two RED cameras, the Scarlet and the EPIC, and explained their similarities and differences. He gave some useful details about the EPIC camera’s ability to record at a greater frame rate at large frame sizes.

  To use EPIC or Scarlet footage in Premiere Pro CS5.5 or After Effects CS5.5, you must install the EPIC and Scarlet importer. This importer plug-in does not work with Premiere Pro CS5 or After Effects CS5.

• Ted also showed a RED Rocket card and explained the performance improvements that can be achieved with this card.

  Note that users of Premiere Pro CS5 or After Effects CS5 must have the 5.0.2 or 10.0.1 update for these applications to use a RED Rocket card. These are the same updates that are required for the CS5 applications to use RMD (RED metadata) files and the updated color science. The CS5.5 applications have these changes built in.

• Wes showed the Media Browser, which makes browsing and importing media in tapeless formats much more convenient—especially when working with spanned clips.

• Wes showed a few other tips for setting up Premiere Pro and After Effects to best work with RED files:
  • decreasing resolution for playback and pause to improve performance
  • creating a sequence with the right settings, matching the footage
  • using Default Scale To Frame Size versus Scale property in Motion effect for fitting RED footage to the frame size of an HD sequence
  • setting color depth to 32bpc in After Effects
  • setting working color space to Rec. 709 in After Effects
• Wes also showed the basics of using time-remapping—which can be done in Premiere Pro or After Effects—and discussed the use of the Warp Stabilizer.

• Both Ted and Wes talked about hardware for optimum performance with Premiere Pro and After Effects. For information about hardware decisions that influence performance, see this page.

Some aspects of this seminar were specific to Premiere Pro CS5.5 and After Effects CS5.5, but most of it was also relevant to users of the CS5 versions of these applications. For details of what’s changed with regard to RED features in Premiere Pro CS5.5, see this page.

If you have any questions about working with RED cameras and footage, bring them to the RED User forum, where several member of the Adobe and RED teams hang out. If you have questions about Premiere Pro in general, bring them to the Adobe Premiere Pro user-to-user forum.

If you’re looking for video training on this subject, I recommend Robbie’s Migrating from Final Cut Pro 7 to Premiere Pro, available on the Lynda.com website. In this series, Robbie is friendly, casual, and engaging while imparting a lot of useful information; he seems to be a natural teacher. I especially appreciate how much Robbie’s years of experience as an editor and colorist come through in his evaluations of the pros and cons of certain ways of working.

You don’t need to take my word for how good this video series is; the fine folks at Lynda.com have made some videos available as free samples: “Why make the move to Premiere Pro” “Customizing the Project panel and using metadata” “Three-point editing” “Moving and archiving projects”

If you’re looking for a book on the subject, then you should definitely check out Robbie’s book Editor’s Guide to Adobe Premiere Pro. (It also contains several hours of videos on its companion DVD.)

Robbie also recorded a one-hour online seminar about color correction and grading with Premiere Pro, which I highly recommend.

Here’s a link to the page listing upcoming webinars.

Here are links to notes and recordings for past webinars:

• “Video Professionals: Switching to Adobe Creative Cloud and CS6″, with Jason Levine
• “The Making of documentary Waiting for Lightning”, with Jacob Rosenberg
• “What’s new in Adobe Story”, with Maxim Jago
• “Introduction to Adobe SpeedGrade CS6″, with Patrick Palmer
• “Innovation in Motion: After Effects CS6″, with Steve Forde
• “Edit your way faster with Premiere Pro CS6″, with Al Mooney
• “Accelerate your RED workflow with Premiere Pro”, with Wes Howell and Ted Schilowitz
• “mastering the Adobe Premiere Pro Timeline panel”, with Richard Harrington
• “color grading and correction in Creative Suite Production Premium”, with Robbie Carman
• “editing a demo reel using Adobe Premiere Pro”, Carey Dissmore
• “optimizing for performance: Adobe Premiere Pro and After Effects”, with Todd Kopriva
• “moving to Adobe Premiere Pro and using an HP workstation”, with Christine Steele
• “using Production Premium CS5.5 on Vincent LaForet’s Möbius”, with John Carr
• “easing the transition to Adobe Premiere Pro”, with Al Mooney
• “audio workflows in Production Premium”, with Colin Smith
• “David Dessel’s personal transition to Premiere Pro”, with David Dessel

We typically announce webinars on our Facebook and Twitter accounts, as well as on our team blogs, so subscribe to keep informed of when these sessions are occurring:

• After Effects blog, Facebook, Twitter, etc.
• Premiere Pro blog, Facebook, Twitter, etc.
• Audition blog, Facebook, Twitter, etc.

To watch the recording, click this link.

Christine talked about quite a few things in this seminar. Here are links to resources for more information about the subjects that she covered:

• resources for transitioning from Final Cut Pro to Premiere Pro
• hardware requirements for best performance with Premiere Pro
• modifying keyboard shortcuts and using Final Cut Pro keyboard shortcuts
• choosing and customizing workspaces
• importing files with the Media Browser
• how the Default Scale To Frame Size preference works
• why audio sometimes doesn’t go to the tracks that you intend (and how to fix it)
• importing sequences from another Premiere Pro project
• working with HD DSLR footage with no transcoding
• red, yellow, and green render bars and what they mean
• exporting and encoding using Adobe Media Encoder
• choosing playback resolution for smoother playback
• working with After Effects and Premiere Pro

Here is a recording of the session.

You can watch Möbius here: http://vimeo.com/31525127

Möbius was shot using a prototype of the new Canon EOS C300 camera and was edited using Adobe Premiere Pro with effects shots produced using Adobe After Effects.  Also integral to post production process were Adobe Story, Adobe Photoshop Extended and Adobe Media Encoder.

Here are some highlights from Jon’s presentation:

Adobe Story

• Plays nicely with other popular screenwriting tools such as Final Draft
• The collaboration features of Adobe Story allowed Jon and his co-writer Justin Hamilton to share the script, mark up and make comments and have a dialog about needed changes.
• The outline view lists scenes and uses color-coded dots to identify characters used in each scene. This feature helped Jon’s team save money by identifying a scene requiring a single actor that could be rewritten to instead not use that character.

Adobe Premiere Pro

• Editorial started with 18 hours of source material and a tight schedule so editor Vashi Nedomansky was able to pass Adobe Premiere Pro project files back and forth with other team members to help identify selects and speed the editing process.
• Other NLEs would have required the C300’s Canon XF media to be transcoded before it could be edited, but Adobe Premiere Pro was able to work with the media natively so no transcoding was necessary.

Adobe After Effects

• Shots were sent from Adobe Premiere Pro to After Effects using Dynamic Link
• Warp Stabilizer was used to fix shaky clips
• Some shots required graffiti on rocks to be painted out, and a combination of the motion tracker built into After Effects, mocha for After Effects and CAMERATRACKER plug-in from The Foundry were used.
• Rotobrush was used in cases where the actor needed to be placed back in front of a background that had been cleaned up in Adobe Photoshop.

Adobe Media Encoder

• When the project was complete, Adobe Media Encoder was used to quickly export the finished sequence to QuickTime.

More details about Möbius can be found on Vincent LaForet’s blog at http://blog.vincentlaforet.com/

You can also watch a video featuring Jon and Vincent on Adobe TV.

You can follow Jon Carr on Twitter at @jon_carr

• video2brain: Since they started doing English-language training a couple of years ago, video2brain has shown a strong commitment to providing high-quality video training for Adobe Premiere Pro. I helped to create some of the Premiere Pro courses, but mostly Jan Ozer and Maxim Jago have been behind the very strong video training for Premiere Pro. In addition to giving you the ability to purchase DVDs of individual courses, video2brain also has subscription options that give you access to all of their materials.

• Total Training: The strong training created by Luisa Winters has kept Total Training at the top of the heap for Premiere Pro. Be sure to check out the CS5.5 Production Premium course, which I almost missed because it wasn’t listed with the Premiere Pro courses. You can order DVDs of the courses, or you can subscribe for online access.

• Lynda.com: For several years, Lynda.com has been providing video training for Premiere Pro. I’m encouraged to see that they’ve recently added courses by such luminaries as Robbie Carman and Rich Harrington to strengthen their offerings for Premiere Pro. Lynda.com has several different subscription options.

• Eran Stern’s The Best of Premiere Pro: You can see what I have to say about Eran’s terrific 4-hour video training course for Premiere Pro in the review that I wrote here.

• Creative Edge: The Creative Edge website collects resources from several providers into one subscription service, so you can watch videos by Total Training, some by video2brain, and so on–all in one place.

Did I miss any providers of video training that you like? Let me know in the comments.

Also see the companion article, “video training providers for After Effects”

(Full disclousure: I’ve worked with most of the organizations listed here–peforming such tasks as creating videos for them, helping them plan their courses, and reviewing their materials. None of them pay me, though.)

Here’s the recording.

Richard covered a lot of useful and interesting material, both in the main presentation and in the question-and-answer segment at the end.

Here’s a brief outline of what Richard talked about, as well as some links to more information about each subject:

recommended resources and contact information

• Rich’s blog
• Editor’s Guide to Adobe Premiere Pro, Rich’s excellent book with Robbie Carman and Jeff Greenberg
• bug-report/feature-request form
• how to keep up with Premiere Pro and communicate with the Adobe Premiere Pro team
• resources for learning Premiere Pro

getting started and configuring the user interface

• creating a sequence and working with sequence presets
• RED (R3D) camera support
• file formats that can be imported and used natively (without transcoding)
• Maximum Bit Depth and Maximum Render Quality settings
• rendering preview files
• audio track types
• maximizing a panel to fill the entire screen
• resizing tracks
• modifying keyboard shortcuts
• using Final Cut Pro and Avid keyboard shortcuts
• adding keyboard shortcuts for targeting tracks
• scrolling and zooming in the Timeline panel

basic editing

• synchronizing and linking clips
• merging clips
• adding markers
• playing/previewing with J, K, and L keys
• setting In point and Out point with I and O keys
• track patching
• using comma (,) and period (.) keys to perform insert and overwrite edits
• showing audio waveform
• showing audio time units (samples)
• changing sequence start time
• assembling a rough cut with Automate To Sequence
• changing the default transition
• changing speed for clips, including time-remapping
• finding and going to gaps between clips
• closing/deleting gaps between clips
• enabling and disabling individual clips
• rearranging clips using Lift, Extract, Copy, Paste, and various dragging operations
• trimming
• Dynamic Link with After Effects

audio

• adjusting gain and volume
• submixes
• master tracks
• showing track and clip volume

miscellaneous questions and answers

• WMV files on Mac OS
• sequence settings when using assets of mixed framerates
• CUDA and the Mercury Playback Engine
• native format support, meaning no need to transcode
• optimizing for performance (making working with Premiere Pro faster)
• exchanging information between Premiere Pro and After Effects
• using Adobe Audition with Premiere Pro
• working with Premiere Pro and other applications together

Ideally, you should install the update by choosing Help > Updates.

However, you can also directly download the update packages from the download pages for Windows or Mac OS, using the “Adobe Premiere Pro CS5.5 5.5.2 update” link. If you use the manual process, you must choose the correct patcher based on your original installation type.

If you have difficulty with this update, please bring questions and issues to the Adobe Premiere Pro forum. Don’t ask questions in the comments on this blog post, which fewer people will see.

There are a few big bug fixes and and a new capability in this update. Also, note that this update includes all fixes and changes made in the Adobe Premiere Pro CS5.5 (5.5.1) update.

You should also install the most recent updates for other applications while you’re at it.

Note: If you have installed the RED Epic importer plug-in from Adobe Labs, the Premiere Pro CS5.5 (5.5.2) update will overwrite it with the built-in RED importer plug-in. To restore the functionality of the RED Epic importer, just re-install the RED Epic importer plug-in after installing the Premiere Pro CS5.5 (5.5.2) update.

Note that we were able to find and fix a lot of these problems because of bug reports from users. Keep ‘em coming.

Here’s a list of bugs fixed in this update:

• Eyedroppers did not work on Mac OSX v10.7 (Lion).
• The Timecode effect overlay was not rendered.
• Closed captions were rendered in the wrong place, sometimes entirely offscreen.
• Enabling the display of closed captions would cause error messages to appear.
• Premiere Pro would crash or exhibit other instability when trimming with third-party I/O hardware (such as Matrox, Blackmagic, and AJA hardware) installed.

Adobe Premiere Pro CS5.5 (5.5.2) adds the ability to take advantage of a Tesla C2075 card for CUDA processing when that card is installed along with a Quadro card, which handles OpenGL processing. This configuration—in which the Quadro card handles OpenGL processing while the Tesla card handles CUDA processing—is referred to as a Maximus configuration.

We have tested the Tesla C2075 card with the Quadro 2000 and Quadro 4000 cards, and the Maximus configuration should work with all other Fermi-class Quadro cards, as well. If you find otherwise, come to the Premiere Pro hardware forum and let us know.

The Maximus capability is imparted by the driver for the Tesla card, so you will want to make sure that you have the up-to-date drivers for your cards. See the Nvidia website for drivers. Our testing was done with the 276.14 driver for the Tesla C2075.

Note that the Maximus technology is different from SLI, and this update does not add the ability for Premiere Pro to use multiple GPUs for CUDA computation by means of SLI.

Tip: It’s always important to make sure that you have a power supply for your computer that is adequate to provide power for all of your components. If you don’t, then you can have all sorts of problems with stability and performance. The Nvidia Tesla cards make this even more apparent, since they draw more power than many other components. So, be sure to follow Nvidia’s installation instructions, and check to make sure that your power supply is adequate for all that’s being demanded of it.

For a complete list of graphics cards for which the CUDA acceleration features are provided and supported, see the Premiere Pro system requirements page. For more information about CUDA processing and the Mercury playback engine in general, see “CUDA, Mercury Playback Engine, and Adobe Premiere Pro”.

We have also been working with several providers of plug-ins, codecs, and hardware devices (such as Matrox, Nvidia, AJA, and Blackmagic) to assist them in updating their software to fix some errors and crashes. Please take this opportunity to download and install updated codecs, plug-ins, and drivers from these providers, as relevant to your work.

• Possible hang on start if firewall or other software (such as ZoneAlarm or FileMaker) blocks communication between Premiere Pro and related components. (See this Technical Support document for more information and solutions.)
• Using eyedroppers in Premiere Pro CS5.5 with the 5.5.2 update on Mac OSX v10.5.8 (Leopard) can cause a crash. If you are using Leopard, either upgrade to Mac OSX v10.6.8 or v10.7 or do not install the Premiere Pro CS5.5 (5.5.2) update.

Here’s the recording.

Robbie covered a lot of useful and interesting material, both in the main presentation and in the question-and-answer segment at the end.

Here’s a brief outline of what Robbie talked about, as well as some links to more information about each subject:

recommended resources and contact information

• Robbie’s website and books
• Editor’s Guide to Adobe Premiere Pro
• Color Correction Handbook
• Robbie on Twitter
• bug-report/feature-request form
• how to keep up with Premiere Pro and communicate with the Adobe Premiere Pro team

scopes and monitoring video

• importance of monitoring video with scopes
• setting up a color correction workspace
• using the Reference Monitor panel
• choosing a display mode in the Source Monitor or Program Monitor panel
• YC Waveform scope
• adjusting contrast with the YC Waveform scope
• Vectorscope
• RGB Parade scope

basic color correction effects, correcting for exposure and color cast

• adjusting color and luminance using curves
• correcting a dark clip using levels in the Fast Color Corrector effect
• importance of noise removal after some color adjustments (Robbie recommends Magic Bullet Denoiser and ABSoft Neat Video.)
• broadcast-safe colors and limiting to broadcast-safe colors with the Luma Corrector effect
• removing a color cast with the Three-Way Color Corrector effect
• introduction to Three-Way Color Corrector effect and Fast Color Corrector effect

correcting skin color

• importance of previewing on an external video monitor, not just a computer screen
• introduction to secondary color correction, the adjustment of only some colors and parts of the image, not the whole image
• using the “skin tone” line on the vectorscope to correct and grade skin colors
• discussion of bug in Premiere Pro CS5.5.1 on Mac OSX v10.7 (Lion) that causes eyedroppers to not work correctly (A fix for this bug is being worked on, and the availability of such a fix will be announced on this blog.)

grading sky colors, cleverly using the Titler to create mattes

• using the Pen tool in the Titler to draw the boundary of a matte (Jarle Leirpoll shows this technique in a color grading tutorial on PremierePro.net.)
• using the Track Matte Key effect to apply the matte
• using blending modes to blend original sky with underlying color layer

vignettes in After Effects, and introduction to Color Finesse

• using Dynamic Link to send video to After Effects for color work
• introduction to Color Finesse, included with After Effects
• creating a mask for use as a vignette

miscellaneous questions and answers

• resizing a panel to full-screen using the accent (`) key
• meaning of icons for effects in Effects panel
• brief discussion of CUDA processing (GPU acceleration)
• brief discussion of basic compositing in Premiere Pro
• creating and saving effect presets as part of a workflow to match colors between two cameras
• animating effects using keyframes
• using RED (R3D) Digital Cinema assets
• bug-report/feature-request form
• more on giving feedback for Premiere Pro

If you don’t already have Adobe Creative Suite 5.5 Production Premium or Adobe Premiere Pro CS5.5, we invite you to download the free 30-day trial version (or go ahead and buy the full version).

Once you have the software, check out the resources for learning Adobe Premiere Pro and After Effects, as well as resources from Carey Dissmore specifically tailored to give you what you need to edit your demo reel with Adobe Premiere Pro.

When you’re finished, you can upload your demo reel for others to see on the Adobe Reel Challenge group page on Vimeo.

If Adobe Application Manager hasn’t already told you about this, go ahead and check for new updates by choosing Help > Updates.

Ideally, you should install the updates automatically by choosing Help > Updates, but you can also directly download the update packages from the download page for Mac OS or Windows by choosing the “Adobe Media Encoder CS 5.5.1″ update.

If you have difficulty with this update, please bring questions and issues to the Adobe Media Encoder forum. Don’t ask questions in the comments on this blog post, which fewer people will see.

This is also a good time to install updates for other applications, including Adobe Premiere Pro and After Effects. See this page for details. (Important: Some of these updates must be manually downloaded; they are not installed automatically by choosing choosing Help > Updates.)

• Adobe Media Encoder wasn’t noticing files dropped into watch folders by other computers, making use of AME across a network fail in some cases.
• The current-time indicator wasn’t updating when encoding audio files.
• Adobe Media Encoder CS5.5 wouldn’t start if Adobe Media Encoder CS5 was running.
• Media from QuickTime reference files from Avid Unity systems wasn’t imported.
• Encoding would fail if an item was added to a watch folder when encoding of another watch folder was paused.
• Incorrect timecode and codec metadata was written for AVC-Intra exports.
• Import of ProRes files with four tracks of audio from ATOMOS devices failed.

Ideally, you should install this update by choosing Help > Updates.

However, if you need to download the update packages manually, you can do so from the download pages for Windows or Mac OS, using the “Adobe Premiere Pro CS5.5 5.5.1 update” link. You must choose the correct patcher based on your original installation type—electronic download or DVD.

If you have difficulty with this update, please bring questions and issues to the Adobe Premiere Pro forum. Don’t ask questions in the comments on this blog post, which fewer people will see.

You should also install updates for your other applications while you’re at it.

Note: If you have installed the RED Epic importer plug-in from Adobe Labs, the Premiere Pro CS5.5 (5.5.1) update will overwrite it with the built-in RED importer plug-in. To restore the functionality of the RED Epic importer, just re-install the RED Epic importer plug-in after installing the Premiere Pro CS5.5 (5.5.1) update.

Note that we were able to find and fix a lot of these problems because of the great feedback that we get through bug reports and crash reports.

Here’s list of the significant bugs fixed in this update:

• Improved playback/scrubbing performance of footage from DSLR cameras.
• Media from Avid Unity QuickTime reference files was not imported.
• XML project files created by Premiere Pro did not work with DaVinci Resolve.
• On Mac OSX v10.7 (Lion), the Universal Counting Leader was missing countdown numbers.
• On Mac OSX v10.7 (Lion), Premiere Pro would crash when quitting.
• Preview in the Capture panel was not functioning properly for HDV footage.
• Image sequences lost their frame rates.
• Edges of a clip were highlighted during transitions/dissolves when using CUDA processing.
• Projects created by importing Final Cut Pro XML projects that contain multiple mono clips would lose some audio when the project was closed and reopened.
• Exporting to a QuickTime movie using DVCPRO HD settings would not complete under some circumstances, including if an image, graphic, or synthetic element was in the sequence.
• Using CUDA-accelerated Invert effect would reposition the clip.
• Premiere Pro could not find files after changing the location of the project.
• If an After Effects composition with a background color other than black was included in a sequence and Mercury Playback GPU Acceleration was enabled, the alpha channel transparency of the composition was ignored.
• MXF files created by Premiere Pro were not readable by Sony XDCAM HD decks, Final Cut Pro, or Avid Media Composer.
• ProRes files created by an ATOMOS device with four tracks of audio were not imported correctly.
• MCC closed caption files exported from MacCaption failed to appear in the Premiere Pro Program Monitor under some conditions.
• Incorrect data was being written to XML files for AVC Intra exports.
• Opacity effects were being ignored after a second transition when CUDA processing (Mercury Playback Engine GPU Acceleration) was enabled.
• Premiere Pro would hang or crash when loading a merged clip with disabled audio channels.
• various other crashes

We have also been working with several providers of plug-ins, codecs, and hardware devices (such as Cineform, AJA, Nvidia, and BlackMagic) to assist them in updating their software to fix some errors and crashes. Please take this opportunity to download and install updated codecs, plug-ins, and drivers from these providers, as relevant to your work.

• On Mac OSX v10.7 (Lion), eyedroppers do not behave correctly in Premiere Pro CS5.5 with the 5.5.1 update installed.
• On Mac OSX v10.6 (Snow Leopard) and v10.7 (Lion), in Premiere Pro CS5.5 with the 5.5.1 update installed, closed captions are not shown in the correct position in the Program Monitor—and are often not visible because they are drawn offscreen. Output of closed captions is not affected; this bug only applies to preview in the Program Monitor.
• Possible hang on start if firewall or other software (such as ZoneAlarm or FileMaker) blocks communication between Premiere Pro and related components. (See this Technical Support document for more information and solutions.)

We’re excited.

One of the major reasons that we’re excited is that we know that the Adobe team will be enriched by the addition of the IRIDAS team—with their deep knowledge of color science, light, and image processing. They’ve done a great job developing world-class products.

With the addition of this set of high-end technologies, we’re even better able to deliver on our commitment to provide video professionals with the tools that you need. Not only have we listened to your requests for better, faster, and more powerful color grading and finishing tools—but we’ve also looked ahead to the future needs of professional video, including HDR (high dynamic range) and raw video workflows.

Though we can’t comment on the details of future product versions, we can point to our history of ever-increasing integration between our applications as an indication of why we acquired these technologies. We look forward to the new workflows that may be enabled by future integration work.

How would you like to see these applications integrated? Feel free to give us feedback, either through the usual feature-request form or in comments on this blog post.

You should also come and talk with us on the new Adobe SpeedGrade forum.

Be sure to check out the official press release, which has lots of additional information, as well as some insight from Jim Guerard and Lin Sebastian Kayser. Jim has also shared some thoughts on this matter in a blog post here.

This book is an excellent resource for experienced editors to learn Adobe Premiere Pro. It begins from an assumption that you already know about video editing in general and only need to learn the details of the features and workflows specific to Adobe Premiere Pro and its companion applications. (I’m quite sure that I’d have the same very high regard for this book even if I hadn’t been its technical editor.)

You don’t need to take my word for it, though. The fine folks at Peachpit Press have made four chapters available as free samples: three as PDF documents and one as an HTML document. “The power is in the trim” (PDF): details of basic editing and trimming functions, including ripple, roll, slip, and slide edits, as well as use of the Trim Monitor “Working with Final Cut Pro” (PDF): transferring projects and footage between Final Cut Pro 7 and Adobe Premiere Pro “Working with Avid Media Composer” (PDF): transferring projects and footage between Avid Media Composer and Adobe Premiere Pro “Importing media” (HTML): several methods for importing media, as well as an introduction to integration with other applications in the Adobe Production Premium suite

The book also contains a DVD with approximately 5 hours of video lessons. We’ve put a few of the videos on Adobe TV so that you can check them out:

• Improving speech analysis with a text file
• The Adobe Photoshop to Adobe Premiere Pro workflow
• Batch-renaming clips in Adobe Bridge
• Importing a Final Cut Pro project
• Importing an Avid project
• Customizing sequence settings for faster renders
• The Adobe Story workflow
• Trimming to beats and words
• Audio automation modes in action
• Healing audio in Adobe Audition
• Retiming audio with Adobe Audition
• Using Photoshop to create logos and bugs
• Normalizing, compression, and limiting audio in Adobe Premiere Pro

There are many other useful resources for learning Premiere Pro, both for the experienced editor and for the beginner.

This is a temporary situation which is currently being worked on by both Nvidia and Apple, and updates to both the Mac OSX v10.7 operating system and the Nvidia CUDA drivers are expected soon to address this issue.

In the meantime, you can do one of two things:

• Run the 32-bit operating system kernel, which for now disables CUDA processing.
• Run the 64-bit operating system kernel, which allows CUDA processing.

Note: By default, Mac OSX v10.7 (Lion) uses the 64-bit kernel, so you shouldn’t need to do anything unless you’ve previously changed to the 32-bit kernel.

This issue does not exist for Mac OSX v10.6.8 (Snow Leopard).

For details regarding choosing between the 32-bit and 64-bit OS kernels, see this page on the Apple website:
http://support.apple.com/kb/HT3773

Here’s the recording.

(Note: If the Adobe Connect session loses audio/video synch, just click the playhead in Adobe Connect, and it will re-synchronize.)

In addition to the information that Al provided, these resources should help you to get started with Premiere Pro if you know Final Cut Pro or Avid Media Composer.

For more information about making the transition from Final Cut Pro to Premiere Pro (including a limited-time offer to save 50% off the price of Premiere Pro or Production Premium), see this page. If you want to try Premiere Pro for free, you can do so for 30 days.

Here’s a brief outline of what Al talked about, as well as some links to more information about each subject:

main presentation

• working in Final Cut Pro 7 and exporting a project as an FCP XML file
• creating a new project in Premiere Pro and choosing project settings
• creating a new sequence and choosing sequence settings
• native format support, so that you can import and use files without transcoding
• quick user interface and workflow overview
• importing a Final Cut Pro XML project into Premiere Pro
• importing footage with the Media Browser
• customizing keyboard shortcuts and using Final Cut Pro keyboard shortcuts in Premiere Pro
• performing insert and overwrite edits by dragging from Source to Program panel
  (Note: When Al tried this in his demo, it failed because he didn’t have a video track targeted to accept the new video clip into his sequence.)
• RED digital cinema (R3D) footage and RMD (RED metadata) files
• choosing sequence settings based on characteristics of a clip
• Mercury Playback Engine, CUDA, and what it all means
• red, yellow, and green render bars; rendering preview files
• Ultra Key effect
• compositing
• improving playback smoothness by modifying playback resolution
• working with After Effects and Premiere Pro
• merging clips for dual-system sound workflow
• editing audio in Audition from Premiere Pro
• using Adobe Media Encoder for encoding and exporting:
  • dragging sequences to the encoding queue; using watch folders for automated and batch encoding
  • using encoding presets for iPad, iPod, YouTube, Vimeo, and such

question-and-answer session

• red, yellow, and green render bars; rendering preview files
• showing timecode in the Program Monitor panel
• how to submit bug reports and feature requests and other feedback
• four-point edits and Fit To Fill
• effect presets
• Dynamic Link no longer a one-way street
• making lower thirds:
  • using Photoshop and importing PSD files
  • the Premiere Pro Titler
  • using After Effects for animated lower thirds
  • automating lower third creation
  • … and so many more ways
• OpenGL in After Effects
• interlacing and video fields
• AAF
• OMF
• working with ProRes footage (and advanced options)

Several of the items above relate to performance and hardware requirements, which we get a lot of questions about. So we put together this page full of resources about making Adobe Premiere Pro (and After Effects) work faster.

Here’s the recording.

Carey covered a lot of useful and interesting material, both in the main presentation and in the question-and-answer segment at the end. Because Carey has spent a lot of his career using Final Cut Pro, much of his presentation focused on how he is making the transition to Premiere Pro and what similarities and differences are between the two applications. I recommend that anyone who uses (or wants to use) a non-linear editor check out the recording.

For more information about making the transition from Final Cut Pro to Premiere Pro (including a limited-time offer to save 50% off the price of Premiere Pro or Production Premium), see this page.

I should also point out that Carey will be doing a hands-on, interactive workshop on this same topic at the motion conference in October.

Here’s a brief outline of what Carey talked about, as well as some links to more information about each subject:

introduction, setup, and importing

• basics of what makes a good demo reel and why you create one
• creating a new project and choosing project settings
• choosing a renderer, and an introduction to CUDA and the Mercury Playback Engine
• creating a new sequence and choosing sequence settings
• preferences, including UI brightness
• customizing keyboard shortcuts
• importing footage with the Media Browser

basic editing

• basic trimming
• insert and overwrite edits
• three-point edits, four-point edits, and fit to fill
• applying transitions
• ripple and rolling edits
• using the Razor tool (like Blade tool in Final Cut Pro)
• snapping
• rate stretch and changing speed and duration of clips
• slip and slide edits
• using the Pen tool for audio fades
• color correction

interchange with After Effects

• Warp Stabilizer
• Dynamic Link
• copy & paste between After Effects and Premiere Pro
• other integration between After Effects and Premiere Pro

interchange with Final Cut Pro 7 and exporting

• importing a Final Cut Pro XML project into Premiere Pro
• exporting a Final Cut Pro XML file from Premiere Pro
• Encore, DVD, and Blu-ray Disc export
• export to Vimeo
• Adobe Media Encoder

miscellaneous questions and answers

• equivalent to Widescreen effect in Final Cut Pro: Crop effect, color matte, and effect presets
• importance of transition handles
• changing sequence settings
• creating a sequence that matches footage
• Cross-Dissolve versus Film Dissolve
• performing insert and overwrite edits by dragging from Source to Program panel
• CUDA cards
• XML exchange with Davinci Resolve
• importance of brevity and music in motion graphics demo reel
• customizing keyboard shortcuts
• working with ProRes footage (and advanced options)

Video2Brain provides video versions of many of these frequently asked questions and answers at Premiere Pro Frequently Asked Questions and After Effects & Premiere Pro Performance Workshop.

• FAQ: How do I learn Premiere Pro?
• FAQ: What’s new and changed in Adobe Premiere Pro CS5.5?
• FAQ: How do I make Premiere Pro faster?
• FAQ: How do I submit a bug report or feature request or otherwise give feedback about Premiere Pro?
• FAQ: Why does audio not go to the track where I drop it?
• FAQ: How do I get rid of black bars around my movie?
• FAQ: Why can’t Premiere Pro import my file?
• FAQ: Does Premiere Pro use all of the CPUs (processor cores) in a multicore computer?
• FAQ: What computer and components should I buy for Premiere Pro?
• FAQ: What are the limitations of the free, 30-day trial version of Premiere Pro?
• FAQ: How do I choose the right sequence settings?
• FAQ: Why is playback stuttering when I preview within Premiere Pro?
• FAQ: Why do I have a red or yellow bar over my sequence, and how do I render previews?
• FAQ: What are CUDA and the Mercury Playback Engine, and how do I use them?
• FAQ: What are the best export settings?
• FAQ: How do I export a movie for YouTube, Vimeo, iPad, iPhone, or Apple TV?

We have an After Effects FAQ list, too.

Several of these tutorials go far beyond just showing the UI controls in a specific piece of software; they also give great advice that’s relevant to color correction with any tool, such as working in a room with constant lighting and frequently resetting your eyes to real-world neutral by looking away from the computer screen.

There’s more information about color correction in general and Color Finesse specifically on the Adobe website:

• “Color correction and adjustment” in Adobe Premiere Pro Help
• “Color correction, color grading, and color adjustment” in After Effects Help
• “Resources for Synthetic Aperture Color Finesse” in After Effects Help

Robbie Carman’s color correction and color grading webinar

• Robbie Carman on color grading and correction in Creative Suite Production Premium

Karl Soule’s color correction and color grading tutorials

• Basic use of the Three-Way Color Corrector in Adobe Premiere Pro
• Setting up the three wheels of the Three-Way Color Corrector in Adobe Premiere Pro
• Using the Three-Way Color Corrector as a secondary color corrector in Adobe Premiere Pro
• Color Finesse workflow: workflow from Premiere Pro to After Effects
• Color Finesse workflow: primary grading in After Effects (part 1)
• Color Finesse workflow: primary grading in After Effects (part 2)
• Color Finesse workflow: secondary grading in After Effects
• Color Finesse workflow: using a control surface

Andrew Devis’s color correction and color grading tutorials

• Primary color correction in After Effects
• Secondary color correction in After Effects
• The Vectorscope in After Effects
• The Vectorscope in Premiere Pro
• YC Waveform Graph in Premiere Pro
• Color correction 1: Brightness & Contrast
• Color correction 2: primary colour correction
• Color correction 3: vignette techniques
• Color correction 4: secondary colour correction
• Color correction 5: blending modes
• Color correction 6: the filmic blend technique
• matching colors from multiple cameras in After Effects and Premiere Pro
• matching colors from multiple cameras in Premiere Pro

Jeff Sengstack’s color correction and color grading tutorials

• Streamlining Color Correction in Premiere Pro (ProVideo Coalition website)
• Presenting the Premiere Pro color correction workflow (Lynda.com)
• Analyzing clips for tonality issues (Lynda.com)
• Adjusting color channels using RGB Color Corrector and RGB Curves effects (Lynda.com)
• Changing a single color: three approaches (Lynda.com)

Jarle Leirpoll’s color correction and color grading tutorial

• Color grading and finishing in Premiere Pro CS5.5

The best way to check for updates is by closing all Adobe applications other than Adobe Bridge, and choosing Help > Updates in Adobe Bridge; this ensures that all processes related to Adobe video applications have been quit and can be updated safely.

Here are links to details of the most recent updates for each version of the Adobe professional video and audio applications:

• After Effects CS6 (11.0.2) update
• Premiere Pro CS6 (6.0.2/6.0.3) update
• SpeedGrade CS6 (6.0.4) update
• Audition CS6 (5.0.2) update
• Adobe Prelude CS6 (1.0.2/1.0.3) update
• Adobe Media Encoder CS6 (6.0.2/6.0.3) update
• Adobe Premiere Pro CS5.5 (5.5.2) update
• After Effects CS5.5 (10.5.1) update (requires manual download and installation)
• Adobe Media Encoder CS5.5 (5.5.1) update
• Premiere Pro CS5 (5.0.4) update (Mac OS) or Premiere Pro CS5 (5.0.3) update (Windows)
• After Effects CS5 (10.0.2) update
• Adobe Media Encoder CS5 (5.0.1) update (Mac OS and Windows)
• After Effects CS4 (9.0.3) update

We have also been working with several providers of plug-ins, codecs, and hardware devices to assist them in updating their software to fix some errors and crashes. Please take this opportunity to download and install updated codecs, plug-ins, and drivers from these providers, as relevant to your work.

Updates are cumulative. If you install an update, you get all of the fixes and features in previous updates for the same version of the application.

If you don’t yet have CS6 Production Premium, you can order it here… or try it free for 30 days.

Here are instructions from our colleagues at Nvidia for updating the drivers to fix these problems:

The CUDA 4.0.21 driver is now posted that officially supports Mac OSX v10.6.8 (Snow Leopard) and v10.7 (Lion). These are the steps needed to ensure that the CUDA driver is installed properly. We are in the process of updating the CUDA automatic driver update so users will get this notification automatically.

Here are the installation steps for Quadro 4000 for Mac on Mac OSX v10.6.8 and v10.7:

1. Install the Mac OSX update (if you haven’t already done so).
2. Install the Quadro 4000 driver for Mac 10.6.8 (Snow Leopard).
   http://www.nvidia.com/object/quadro-macosx-256.02.25f01-driver.html
   (Note: This driver was last updated on 6/24/2011 and is still the correct driver.)
   After installation, it will ask to reboot.
3. Install the CUDA for Mac driver (4.0.21) from this direct link.
   http://developer.download.nvidia.com/compute/cuda/4_0/drivers/devdriver_4.0.21_macos.dmg

If you have problems with the update, let Nvidia know. They’re monitoring this issue on their forums here:
http://forums.nvidia.com/index.php?showtopic=203839.

We’re monitoring the Premiere Pro aspect of this issue on the Adobe user-to-user forum here:
http://forums.adobe.com/message/3761931

For details of CUDA and the Mercury Playback Engine, including answers to frequently asked questions, see this page:
“CUDA, Mercury Playback Engine, and Adobe Premiere Pro”

If Adobe Application Manager hasn’t already told you about this, go ahead and check for new updates for Premiere Pro CS5 by choosing Help > Updates.

Later—but not yet—you’ll be able to directly download the update packages from the download page for Mac OS, using the “Adobe Premiere Pro CS5 5.0.4 update” link. This page will be updated when the direct download is available.

This Adobe Premiere Pro CS5 (5.0.4) update itself includes one bug fix, which addresses a problem with crashes and other problems on Mac computers with ATI cards. Adobe Premiere Pro CS5.5 does not have this problem.

Since updates are cumulative, installing the CS5 (5.0.4) update will also give you the many, many fixes and improvements in the CS5 (5.0.3) and CS5 (5.0.2) updates. Of course, you can also get these improvements and many more by upgrading to Adobe Premiere Pro CS5.5.

If you have difficulty with this update, please bring questions and issues to the Adobe Premiere Pro forum. Don’t ask questions in the comments on this blog post, which fewer people will see.

We have also been working with several providers of plug-ins, codecs, and hardware devices to assist them in updating their software to fix some errors and crashes. Please take this opportunity to download and install updated codecs, plug-ins, and drivers from these providers, as relevant to your work.

Here are the notable improvements, though not a complete list of bug fixes.

• When Premiere Pro finds a reference to a ProRes proxy for RED (R3D) footage in an FCP file, it uses the full-resolution RED footage in instead of the ProRes proxy. If the resolution of a RED proxy clip doesn’t match the original RED media (e.g., a 2K proxy for a 4K original), Premiere Pro scales the clip in the Motion effect to maintain the same dimensions in Premiere Pro that were used in FCP.
• Swapped the title for imported RED media to use the .R3D file name instead of the name of the .mov proxy used by FCP.
• Fixed handling of audio in RED files.
• Final Cut XML files generated by iMovie are now imported by Premiere Pro.
• Fixed various bugs regarding importing and exporting of stereo and 5.1 audio.
• Audio levels are now translated correctly. On export, Premiere Pro converts Volume to FCP Audio Levels, and converts Gain to FCP Gain—instead of the other way around, as was done in Premiere Pro CS5. (Audition export continues to use the old behavior.)
• XDCAM HD clips with two channels of audio are now imported correctly instead of being incorrectly flagged as having four channels of audio (which caused crashes on playback).
• Duplicate master clips are no longer created incorrectly in various cases.
• Fixed instances of “generic error” failures caused by a mix of clips with and without masterclipid attributes.
• XDCAM 1440 material is now imported with the correct pixel aspect ratio.
• Premiere Pro now generates multiclip names the same way that FCP does (e.g., “My Clip[1]-Multiclip 2″) instead of the original, simpler implementation (“Multiclip 2″).
• Set default sequence presets for sequences that use the Apple IMX codec or Apple DVCPROHD 1080p30 as their renderer in FCP.
• Fixed bugs that led to incorrect interpretation of pixel aspect ratios.
• Premiere Pro now sets the correct media In and Out points for clips that have speed changes applied in FCP.
• Translation between Three-Way Color Corrector effects is improved, including adding the translation between these effects on export.
• Fixed bugs in export of In and Out points for clips in Project panel.
• Alpha channel values are now exported, instead of all assets being labeled as having no alpha channel.
• A codec block is now added to each exported sequence, setting it to use ProRes 422 as the sequence render codec. This allows most formats to play without rendering in FCP. Previously, Premiere Pro didn’t specify a codec, so FCP defaulted to NTSC DV for all timelines.
• Premiere Pro now adds FCP distort and scale parameters when the pixel aspect ratio (PAR) of a clip doesn’t match the PAR of the sequence its in. Premiere Pro handles this scaling implicitly, but FCP does it explicitly via these filters.

For a complete list of new and changed features in Premiere Pro CS5.5, see this page.

For resources to assist with the transition from Final Cut Pro to Adobe Premiere Pro, see this page:
“Premiere Pro overview documents for Final Cut Pro and Avid Media Composer users”

If you have a Matrox MXO2 product with Matrox MAX technology or a Matrox CompressHD card, be aware that using a Matrox .264 file with Adobe Encore 5.1 (the version that is included with Adobe Premiere Pro CS5.5) on Windows can cause Encore to become unresponsive. This issue affects mostly large Matrox .264 files (~3GB or larger), and it also occurs when you transcode directly to Matrox MAX H.264 format in Encore CS5.1.

For Adobe Encore CS5.1, Matrox suggests that you do one of the following:

• If you presently have Adobe CS5 software and want to upgrade to Adobe CS5.5 software, uninstall your Matrox Mtx.utils software and upgrade to Adobe CS5.5 software, and keep your CS5 version of Adobe Encore. (I.e., you can keep Encore CS5.0 and also install Encore CS5.1 on your computer.) When you install Matrox Mtx.utils 5.5, the Matrox Player and presets will be installed for Encore CS5.1 only, but you’ll be able to use Encore CS5.0 with your Matrox .264 files.
• If you have only Encore CS5.1, don’t use any Matrox .264 files larger than 3GB or transcode assets longer than about 10 minutes to Matrox MAX H.264 format. For example, if you have a long Premiere Pro sequence that you want to export to a Matrox .264 file, break your export into multiple files no greater than 3GB and place these on the timeline in Encore CS5.1.

This file was mistakenly left out of the Premiere Pro CS5 installer for Windows, so people who tried to switch to this keyboard shortcut set were unable to do so.

Unzip the file and then install the .kys file by copying it here:
C:\Program Files\Adobe\Adobe Premiere Pro CS5\Keyboard Shortcuts\en_US

(where C may be replaced by the a different drive name if you installed somewhere other than the C drive, and en_US may be replaced by another locale ID)

This file was included in the Premiere Pro CS5.5 installer, so manually installing this file is only necessary for Premiere Pro CS5 for Windows.

For information about keyboard shortcuts, including how to customize them, see this page:
“Keyboard shortcuts”

He also shows a rough and manual way to do this in After Effects in this video. For a more automated and precise way to accomplish this in After Effects, see this video.

The series is available for free on the Video2Brain website.

For details of the new and changed features in Adobe Premiere Pro CS5.5—including links to these videos and others, as well as the relevant Help documents—see this page and the specific pages that it points to.

Once you’ve watched these videos, you’ll know the differences between Adobe Premiere Pro CS5 and Premiere Pro CS5.5, so you’ll be able to make the relatively small number of adjustments necessary when using resources created for Premiere Pro CS5, such as these. ]]> http://blogs.adobe.com/premierepro/2011/05/video2brain-video-series-about-premiere-pro-cs5-5-new-and-changed-features.html/feed 0 http://blogs.adobe.com/premierepro/2011/05/red-r3d-digital-cinema-and-canon-xf-improvements-in-adobe-premiere-pro-cs5-5.html http://blogs.adobe.com/premierepro/2011/05/red-r3d-digital-cinema-and-canon-xf-improvements-in-adobe-premiere-pro-cs5-5.html#comments Thu, 19 May 2011 18:32:04 +0000 Todd Kopriva http://blogs.adobe.com/premiereprotraining/?p=776 Continue reading →]]> Adobe Premiere Pro CS5.5 includes several additions and improvements to source settings for RED Digital Cinema (R3D) files, including new color science support (REDcolor2, REDgamma2, REDlogFilm, etc.) and better curves and levels UI.

See this video on the Video2Brain website for a summary of these new and changed features for RED (R3D) footage, as well as improvements made in the Premiere Pro CS5 (5.0.2) update.

Adobe Premiere Pro CS5.5 also includes enhanced native Canon XF support, including preview in the Media Browser and use of metadata.

For details of all of the new and changed features in Adobe Premiere Pro CS5.5, see this page.

Adobe has also released a preview version of advanced RED importer software that adds support for RED EPIC footage, as well as the following new features:

• ability to rotate and flip footage based on the camera orientation flag in R3D metadata
• support for Echo port in R3D Source Settings dialog box, so that the RED preview can be sent out to an external monitor
• increased size of RED R3D Source Settings dialog on larger monitors
• HDR track selection and HDR blend support

See this video on the Video2Brain website for a demonstration of these new and changed features:

• Added ways to create a new sequence matching the characteristics of a clip: File > New > Sequence From Clip menu command and New Sequence From Clip context-menu command (i.e., command available when Control-clicking or right-clicking).
• Added Sequence > Match Frame menu command.
• Added overlay in Program panel that enables dragging of clips from the Media Browser, Project panel, or Source panel into the Program panel to perform an insert or overwrite edit
• The Unlink command now decouples the audio portion of a clip while automatically deselecting the video portion. The Unlink command now works on multiple clips at the same time, as well.
• Added ability to add keyframes directly into the timeline using the Pen tool or Selection tool without having to first enable keyframing.
• Added ability to set keyframes without a modifier key.
• Added menu command Sequence > Trim Edit to open the Trim Monitor.
• Renamed General tab of New Sequence dialog box to Settings.
• Renamed Desktop editing mode in the New Sequence dialog box to Custom.
• Changed Overlay to Overwrite.
• Changed CTI to Playhead in some places.
• Changed Razor Tracks to Add Edit and Razor All Tracks to Add Edit To All Tracks.

For details of all of the new and changed features in Adobe Premiere Pro CS5.5, see this page.

See this video on the Video2Brain website for a demonstration of these new and changed features:

• new search field in the keyboard shortcuts dialog box
• updated and improved keyboard shortcut sets matching Final Cut Pro and Avid Media Composer
• additional keyboard shortcut (Shift+`) for maximizing active panel

For details of all of the new and changed features in Adobe Premiere Pro CS5.5, see this page.

You do not need new versions of plug-ins for Premiere Pro CS5.5. Plug-ins that work with Premiere Pro CS5 should work with Premiere Pro CS5.5.

I think that some of this confusion came from the need to get new versions of plug-ins when we advanced from Premiere Pro CS4 to Premiere Pro CS5. That was necessary because of the move from a 32-bit application to a 64-bit application. There is no such fundamental infrastructure change from Premiere Pro CS5 to Premiere Pro CS5.5.

You do need to make sure that the plug-ins are installed where Premiere Pro CS5.5 is looking for them. Premiere Pro CS5.5 has its own plug-ins folder, and it doesn’t look in the CS5 plug-ins folder, unless you tell it to do so (more on that in a bit). So, be sure to install the plug-ins in the right place.

By default, the plug-ins folder is in the following location:

• (Windows) Program Files\Adobe\Adobe Premiere Pro CS5.5\Support Files\Plug-ins
• (Mac OS) Applications/Adobe Premiere Pro CS5.5/Plug-ins

Premiere Pro also loads plug-ins from a MediaCore folder, which is intended to hold plug-ins shared between After Effects and Premiere Pro. Some third-party plug-in installers install their plug-ins in this folder. You should follow the instructions for these third-party plug-ins regarding how to install plug-ins for Premiere Pro CS5.5.

Here are links to the sites of some third-party plug-in providers, where they give instructions:

• Red Giant Software
• Digieffects

Tip: You can have an alias/shortcut in your CS5.5 plug-ins folder that points to the CS5 plug-ins folder. That way, when Premiere Pro is scanning the CS5.5 plug-ins folder for plug-ins to load, it’ll follow that alias/shortcut to the CS5 plug-ins folder and load plug-ins from there. Be careful if you decide to go this route, since it’s easy to point to duplicate versions this way. I keep my third-party plug-ins that are not installed with Premiere Pro in a separate “after-market” folder in my CS5 Plug-ins folder, and my alias/shortcut in my CS5.5 Plug-ins folder just points to that.

Michele Yamazaki show how to do it here.

Here are instructions for making an alias on Mac OS.

I didn’t find concise instructions for creating a shortcut to a directory on Windows, but the gist is this: Right-click a directory, and choose Copy; in the destination location, right-click, and choose Paste Shortcut.

All of this applies to After Effects, as well.

Nvidia and Adobe are aware of a problem with the 270.61 and 270.71 drivers for Nvidia graphics cards for Premiere Pro CS5 and Premiere Pro CS5.5.

A driver with a fix for this issue (270.73) should be available soon.

If you are experiencing problems with Premiere Pro, and you are using the 270.61 or 270.71 Nvidia drivers, please check the Nvidia driver download site for the new driver. You may also choose to roll back to a previous driver until the new driver is available.

We’ll update this post as soon as we learn of the public availability of the new driver.

This way of working with audio is often referred to as dual-system sound, and it’s especially common when recording video with HDSLR cameras and other devices that don’t typically include high-quality audio input hardware.

To see how to merge clips and synchronize audio and video tracks, see this video on the Video2Brain website and this video on the EventDV website.

In this video, Jason Levine shows how to use the Merge Clips command, as well as demonstrating a few other improvements in Adobe Premiere Pro CS5.5.

For complete details of what’s new and changed in Adobe Premiere Pro CS5.5, see this page.

Adobe Premiere Pro CS5.5 includes an Edit In Adobe Audition command, which you can use to send individual clips, entire sequences, or just the selected work area—complete with reference video—directly to Adobe Audition for audio editing and sweetening. If you send an individual clip, Audition uses a render-and-replace process to automatically update the audio clip in Adobe Premiere Pro. If you send a sequence, you can choose to place the rendered audio in the audio track of your choice.

See this video on the Video2Brain website for a demonstration and explanation of this feature.

This video from Jason Levine also gives an overview of this feature.

For more information about using Audition with Adobe Premiere Pro, see “Working with video applications” in the Audition CS5.5 Help document and “Editing audio in Adobe Audition” in the Adobe Premiere Pro Help document.

For complete details of what’s new and changed in Adobe Premiere Pro CS5.5, see this page.

To preview the closed captions on an external video monitor, closed caption display must be enabled for the monitor. To preview the closed captions in the Program Monitor panel in Premiere Pro, choose Closed Captioning Display > Enable in the Program Monitor panel’s panel menu (the little icon in the upper-right corner of the panel).

This video by Karl Soule on Adobe TV and this video on the Video2Brain website show how to attach, preview, and export closed captions.

Premiere Pro can send closed captions to a DV monitor without any additional plug-ins. To send closed captions to other devices, you must use a third-party device and plug-in to read the closed caption data associated with a sequence and write that data into the video frames on output. Third-party hardware partners are adding support to send closed captioning data to their hardware output. At the time of this writing, MOTU and BlackMagic Design have already announced products to perform this task.

The closed captioning data that Adobe Premiere Pro CS5.5 can attach to a sequence can be in either .mcc files for CEA-708 data (for high-definition TV) or .scc files for CEA-608 data (for standard-definition TV). For information on closed captioning formats, see the “Closed captioning” page on Wikipedia.

Adobe Premiere Pro does not create closed caption data.

Additional information about the closed caption features of Premiere Pro CS5.5 is provided and discussed in this thread on the Premiere Pro user-to-user forum.

For details on all that’s new and changed in Adobe Premiere Pro CS5.5, see this page.

The trial version of Adobe Premiere Pro CS5 and earlier had a major shortcoming: It lacked many of the most useful and popular codecs, including codecs for MPEG-2, AVCHD, and RED media. This meant that people had a hard time evaluating the software for real-world use.

Not any longer.

The trial version of Adobe Premiere Pro CS6 includes all of the codecs that are included with the full version of Adobe Premiere Pro CS6. This means that you can import and export to all of the supported file formats using the trial version.

See this page for more details about the trial version.

For lists of formats that you can import into and export from Adobe Premiere Pro, see these pages:

• formats that you can import into Adobe Premiere Pro CS6
• formats that you can export from Adobe Premiere Pro CS6 through Adobe Media Encoder
• formats that you can export directly from Adobe Premiere Pro CS6

For details about everything that’s new and changed in Adobe Premiere Pro CS6, see this page.

A lot of the changes that we made for Adobe Premiere Pro CS5.5 were to remove inconveniences, sources of confusion, and clutter. One small but very welcome change is the unification of the audio effects.

Previously, each audio effect had three instances—one each for mono, stereo, and 5.1 audio tracks. This was a nuisance.

In Adobe Premiere Pro CS5.5, each audio effects just has one instance. This makes applying the effects simpler, and it cleans up the structure of the Audio Effects folder. When you apply an audio effect, Adobe Premiere Pro automatically applies the effect of the correct type, corresponding to the item that you applied it to.

Some effects have restrictions, and can be used only on certain track types. See “Audio effects” for details.

For a complete list of what’s new and changed in Adobe Premiere Pro CS5.5, see this page.

OK, so now that you’ve gone and read about CUDA processing in Premiere Pro CS5, let’s move onto what’s new in Premiere Pro CS5.5.

(For a video overview of this information, see this video on the Video2Brain website.)

We have a few more effects and transitions that are accelerated by CUDA:

• Film Dissolve
• Additive Dissolve
• Invert
• Directional Blur
• Fast Blur

The Film Dissolve transition is new in Premiere Pro CS5.5. It’s a dissolve transition that blends in a linear color space (gamma = 1.0). In simple terms, that means that it blends in a more realistic way; basically, dissolves look the way that they should. That’s not a CUDA-specific thing; I just thought that I’d call it out since this is the first time that I’ve had a chance to describe the effect.

One category of accelerated processes is very important but not really obvious in the user interface, as the accelerated effects are. I’m talking about various aspects of media preparation and footage interpretation. There’s a lot of processing that goes on behind the scenes when you’re bringing media of various types, sizes, frame rates, pixel aspect ratios, and so on into a sequence. Premiere Pro CS5.5 accelerates many more of these kinds of processes than did Premiere Pro CS5.

Premiere Pro CS5.5 accelerates processing for dealing with the following kinds of characteristics of mismatched media:

• frame rate differences
• field order differences
• pixel aspect ratio differences
• frame size differences
• media with different alpha channel representations

Related to the above, frame blending and speed changes (including time remapping) are accelerated.

Similarly, processing of footage interpretation is accelerated for changes in frame rate, pixel aspect ratio, field order, and alpha channel interpretation, as well as pulldown removal. Interlacing and deinterlacing are also accelerated.

Premiere Pro CS5 was unable to use more than 4GB of RAM on the GPU (VRAM). Premiere Pro CS5.5 can use more than 4GB of VRAM.

We’ve added many graphics cards to the list of cards that provide the CUDA processing features in Adobe Premiere Pro CS5.5. Below is a list of the cards added in this version. For a complete list, not just the list of changes in this version, see this page.

• GeForce GTX 570
• GeForce GTX 580
• Quadro FX 3700M
• Quadro FX 3800M
• Quadro 2000
• Quadro 2000D
• Quadro 2000M
• Quadro 3000M
• Quadro 4000M
• Quadro 5010M
• Quadro 6000

You’ll notice that there are a lot more cards for laptops now. (They’re denoted by the M at the end of the card number.)

For more about what’s new and changed in Premiere Pro CS5.5, see this page.

This video on the Video2Brain website shows how to use a script from Adobe Story to improve speech analysis and then use the text metadata to edit video according to dialog in Premiere Pro. This video from Jason Levine gives an overview of the workflow.

One of the great benefits to bringing script information into Adobe Premiere Pro is that the script can be used to inform and improve the analysis of speech in a movie. When you use the speech-analysis feature, words in the audio track are converted into text metadata that you can use during editing. For example, you can navigate in a sequence to the exact time when a word is spoken by clicking the word in the Metadata panel.

For more information on Adobe Story, see the Adobe Story documentation. You can also follow and communicate with Adobe Story team on Facebook, forums, and Twitter.

For more of what’s new and changed in Adobe Premiere Pro CS5.5, see this page.

To see a video demonstration and explanation of the changes in Adobe Media Encoder CS5.5, see this video on the Video2Brain website.

If you want to ask questions about these new and changed features, come on over to the Adobe Media Encoder user-to-user forum. That’s the best place for questions. Questions left in comments on a blog post are much harder to work with; the blog comment system just isn’t set up for conversations. It’s also never too early to leave comments on the pages of the Help documents to ask for more information, point out areas that aren’t clear, and so on; Kevin, the guy who writes the Help documents, wants your input. You can also leave comments on the pages of the Help document to tell everyone about tutorials and other resources that you’ve found (or created) about these new features.

• Added encoding presets for iPad devices and other tablet devices.
• Improved encoding presets for YouTube, Vimeo, and other popular output formats.
• You can now import image sequences into Adobe Media Encoder.
• Watch folder features are much improved, including ability to add the same watch folder to the encoding queue multiple times and assign multiple sets of encoding settings for multiple output types from the same source. Adding a watch folder is now as easy as dragging a folder into the Watch Folders pane.
• The Start Queue Automatically When Idle For preference is off by default. (Yay!)
• A new checkbox, Auto-Encode Watch Folders, gives you the ability to decide whether items in a watch folder are automatically encoded as soon as they appear, as opposed to waiting until the encoding queue is started.
• Added context menus to many items, so that common commands are available by right-clicking (Windows) or Control-clicking (Mac OS) many items. An especially handy pair of such menu items are Reveal Source File and Reveal Output File, which show the location of the respective file in the Finder or Windows Explorer.
• Added ability to drag a sequence from the Adobe Premiere Pro Project panel or a composition from the After Effects Project panel into Adobe Media Encoder to add it to the encoding queue. You can also begin the process of importing by double-clicking in an empty area of the encoding queue pane.
• RED (R3D) source settings can be accessed using File > Source Settings, with improved RED support like that in After Effects CS5.5 and Adobe Premiere Pro CS5.5, including new color science support (REDcolor2, REDgamma2, REDlogFilm, etc.) and better curves and levels UI.
• A chime sounds when the encoding queue is done processing, like in After Effects.
• The trial versions of Adobe Premiere Pro CS5.5 and After Effects CS5.5 include all codecs included with the full versions, so users of the trial version will be able to import any file that can be imported using in the full version, as well as being able to encode using any codec that can be used in the full version. Because Adobe Media Encoder receives its codecs from the client applications, this change expands the functionality of the Adobe Media Encoder CS5.5 trial version, too.

For a couple of early videos showing improvements to Adobe Media Encoder, see “Sneak preview of Adobe Media Encoder improvements to importing” and “Sneak preview of Adobe Media Encoder improvements to encoding”. (Please excuse the low audio levels in these videos. I was in a hurry to post these videos, and I neglected the all-important step of checking and normalizing my audio levels. Learn from my mistake.)

Video2Brain provides a detailed set of videos about all of the new and changed features in Adobe Premiere Pro CS5.5.

If you want to ask questions about these new and changed features, come on over to the Adobe Premiere Pro user-to-user forum. That’s the best place for questions. Questions left in comments on a blog post are much harder to work with; the blog comment system just isn’t set up for conversations.

• merged clips for synchronizing audio and video tracks in dual-system sound workflow, in which audio is recorded separate from video (common for HDSLR work)
• Mercury Playback Engine performance improvements, including additional effects and tasks processed with CUDA and an expansion of the set of graphics cards that provide the CUDA-processing features
• added ability to edit audio with Adobe Audition CS5.5, interchanging a single clip or an entire sequence
• audio effects unified, such that you no longer need to apply a different effect depending on whether the audio track is mono, stereo, or 5.1 audio
• improved speech analysis with scripts from Adobe Story
• ability to attach a closed captioning data file to a sequence and preview the closed captions in the Program panel
• new overlay that enables dragging of clips from the Media Browser, Project panel, or Source panel into the Program panel to perform an insert or overwrite edit
• improved keyboard shortcut customization, including addition of a search field to the keyboard shortcuts dialog box
• improved RED (R3D) features, including new color science support (REDcolor2, REDgamma2, REDlogFilm, etc.) and better curves and levels UI
• enhanced native Canon XF support, including preview in the Media Browser and use of metadata
• several user interface improvements that add up to a much more efficient user experience, including the following:
  • The Unlink command now decouples the audio portion of a clip while automatically deselecting the audio portion. The Unlink command now works on multiple clips at the same time, as well.
  • ability to add keyframes directly into the timeline using the Pen tool or Selection tool without having to first enable keyframing
  • ability to set keyframes without a modifier key

Here’s a virtually comprehensive list of changes beyond the top few listed above (though not quite listing every minor tweak to the user interface).

projects and sequences

• Added Sequence > Match Frame menu command.
• Renamed General tab of New Sequence dialog box to Settings.
• Renamed Desktop editing mode in the New Sequence dialog box to Custom.
• Added ways to create a new sequence matching the characteristics of a clip: File > New > Sequence From Clip menu command and New Sequence From Clip context-menu command (i.e., command available when Control-clicking or right-clicking).

importing and managing footage

• The trial version of Adobe Premiere Pro CS5.5 includes all codecs included with the full version, so users of the trial version will be able to import any file that can be imported using in the full version.
• You can drag and drop assets from iTunes into the Premiere Pro Project panel.

editing

• Added menu command Sequence > Trim Edit to open the Trim Monitor.
• Changed Overlay to Overwrite.
• Changed CTI to Playhead in some places.
• Changed Razor Tracks to Add Edit and Razor All Tracks to Add Edit To All Tracks.

effects and compositing

• Added Film Dissolve effect.
• Added two blending modes: Subtract and Divide.

rendering and exporting

• Added ability to drag a sequence from the Adobe Premiere Pro Project panel into Adobe Media Encoder to add it to the encoding queue. For other Adobe Media Encoder changes, see “Adobe Media Encoder CS5.5: What’s new and changed”.
• The trial version of Adobe Premiere Pro CS5.5 includes all codecs included with the full version, so users of the trial version will be able to render and export using any codec that can be used in the full version.

keyboard shortcuts

• Added command for maximizing panels: Press the Shift+grave accent key (`) or choose Window > Maximize Frame to maximize the active (selected) panel. This is in addition to the keyboard shortcut (`) in previous versions that maximizes the panel under the mouse pointer, regardless of which panel is active (selected).

The document is full of tips for Adobe Premiere Pro, Photoshop, Bridge, Adobe Media Encoder, and After Effects, as well as several more about selecting gear, shooting footage, and recording audio. It’s clear that Richard and the other folks who worked on this collection of tips have lots of experience using their tools and have learned the best and most efficient ways to accomplish many things.

Pearlman is a film and video editor whose early career was in dance, and she brings her ideas and experience about choreography, rhythm, and the direct connection between body and emotion into her editing.

She has many useful and interesting suggestions regarding how the editor can synchronize with the material and find the rhythms inherent in it, as well as how to create specific responses in an audience by manipulating their natural tendencies to synchronize with certain things occurring on screen. Her ideas of timing, pacing, rhythm, and trajectory don’t come from theory as much as they come from years of practice in a closely related and very physical and musical art form.

• “Chapter 3: Timing, Pacing, and Trajectory Phrasing”
• “Chapter 4: Tension, Release, and Synchronization”

Phil has a casual, easy-going, conversational manner to his video training, and he makes learning new technical skills a pleasant experience—perhaps in part because of his great voice. (This is a characteristic that he shares with my partner Angie Taylor.)

These are very basic videos, but that’s no criticism—people need to learn the basics before moving on to more advanced subjects.

Here are links to free sample videos from this series and pages for additional information on the same topics:

• Picture-In-Picture: shows how to use the Motion effect and create and apply effect presets
• Rate Stretch tool: shows how to use the Rate Stretch tool
• Ripple Edit tool: shows how to use the Ripple Edit tool
• Rolling Edit tool: shows how to use the Rolling Edit tool
• Razor tool: shows how to use the Razor tool
• Adjusting volume and Mixing voice and music: show how to adjust volume using the Audio Mixer and Timeline panel

Really, my only criticism about this series is that some of the surrounding collateral—such as the box cover and bumper video that plays at the beginning of the series—are a bit sloppy, even getting product names wrong. For example, the box refers to Premiere CS5, not Premiere Pro CS5.

The Adobe Story user-to-user forum is great for asking questions about how to use the software and report issues. Many members of the Adobe Story team help out on that forum, as well as several experienced users of the software. Before posting a question, first do a search to see if your question has been answered before.

For now, the Adobe Story user-to-user forum is also the best place to tell the Adobe Story team about feature requests and bugs.

To keep up with the latest Adobe Story developments, follow the Adobe Story Facebook page and Twitter feed.

Of course, basic information about using Adobe Story can be found in the Adobe Story Help document.

This series is a welcome deviation from many of the tutorials and training packages that I’ve seen. Rather than attempt to cover the same ground covered by several other video training series that cover (or attempt to cover) every feature and UI control, Eran has chosen to focus on a few things that have been left relatively untouched by other offerings. Even in the case where he does cover subjects covered in other video training series, he does so in greater depth or with more attention to workflow gotchas—as in the nearly two hours that he spends on one end-to-end project using Dynamic Link in various ways. Eran put real testing into the research for this video series, and this testing pays off with information that you can’t find anywhere else. For example, he shares a list of Cycore (CC) effects installed with After Effects that can also be used in Premiere Pro. Similarly, he shares his experience with a large number of other third-party effects and makes recommendations for their use.

Eran has made a few of the videos from this series freely available to whet your appetite, and you can find these free videos toward the bottom of the main The Best of Premiere Pro product page.

I think that the best of the free sample videos is the one about the use of transparent video clips. A higher-quality version of that video is also on Eran’s main tutorials page. Here’s a direct link to the transparent video tutorial.

This training video makes heavy use of stock footage from Art Beats, and you even get some Art Beats footage when you purchase the video training.

(Note: As you can see on Eran’s blog, there is a problem as of today with the Art Beats server; but I’m sure that they’ll get that cleared up soon.)

I only found one aspect of the entire video training series problematic, and that was the audio toward the beginning. I think that Eran must have changed his microphone setup after recording the first video, because I noticed rather distracting plosives in that video but not in the later ones.

[UPDATE: For details of what's new regarding CUDA processing in Adobe Premiere Pro CS5.5, see this page.]

A few weeks ago, I wrote a forum post to try to clarify some things about CUDA, the Mercury Playback Engine, and what it all means for Adobe Premiere Pro. I wrote this as a forum post because I wanted to invite questions and conversation. But, as forum threads do, it got a little messy, so I thought that I should consolidate the information here.

If you want to ask a question about this subject, please do so on the forum thread, not on this blog post. It’s very difficult to have a conversation in the comments of a blog post.

Mercury Playback Engine is a name for a large number of performance improvements in Adobe Premiere Pro CS5 and later. Those improvements include the following:

• 64-bit application
• multithreaded application
• processing of some things using CUDA (and OpenCL in Premiere Pro CS6)

Everyone who has Premiere Pro CS5 or later has the first two of these. Only the third one depends on having a specific graphics card.

CUDA is a technology (architecture, programming language, etc.) for a certain kind of GPU processing. CUDA is an Nvidia technology, so only Nvidia cards provide it. OpenCL is a technology that is similar in purpose to CUDA. OpenCL features are provided by many graphics cards, including ATI/AMD cards.

Confusingly—because of one of our own early videos that was unclear—a lot of people think that Mercury just refers to CUDA/OpenCL processing. This is wrong. To see that this was not the original intent, you need look no further than the project settings UI strings Mercury Playback Engine GPU Acceleration and Mercury Playback Engine Software Only, which would make no sense if Mercury meant “hardware” (i.e., CUDA/OpenCL).

The official and up-to-date list of the cards that provide the CUDA/OpenCL processing features is here:
Adobe Premiere Pro system requirements

Some of the cards on that list are only enabled if you have the recent updates. Go here to read about the most recent updates for your version.

If you don’t have one of these cards, you can still use Premiere Pro; you just won’t get the advantages of processing with CUDA/OpenCL.

On Mac OS, OpenCL processing features of Premiere Pro CS6 require Mac OSX v10.7 or later.

Dennis Radeke gives the results of side-by-side tests with various Quadro cards in an article on his blog.

Here’s a list of things that Premiere Pro CS5 and later can process with CUDA:

• some effects (complete list at the bottom of this post)
• scaling (details here)
• deinterlacing
• blending modes
• color space conversions

Premiere Pro CS5.5 and later can process even more things, listed on this page.

Premiere Pro CS6 can use OpenCL to process the same features, with the exception of four effects: Basic 3D, Gaussian Blur, Fast Blur, and Directional Blur.

It’s worth mentioning one set of things that Premiere Pro doesn’t process using CUDA/OpenCL: encoding and decoding.

A common misconception is that CUDA/OpenCL processing is only used for rendering for previews. That is not true. CUDA/OpenCL processing can be used for rendering for final output, too. See this page for details about what rendering is.

Whether a segment of a sequence gets a red or yellow render bar is influenced by whether the project is set to use CUDA/OpenCL processing (i.e, whether the project’s Renderer setting is Mercury Playback Engine GPU Acceleration or Mercury Playback Engine Software Only). See this page for details.

Note that whether a frame can be processed by CUDA/OpenCL depends on the size of the frame and the amount of RAM on the graphics card (VRAM). This article gives details about that, toward the bottom.

Processing with CUDA/OpenCL doesn’t just mean that things are faster. In some cases, it can actually mean that results are better, as with scaling. See this article for details.

For export, scaling with CUDA/OpenCL is always at maximum quality, regardless of quality settings. (This only applies to scaling done on the GPU.) Maximum Render Quality can still make a difference with GPU-accelerated exports for any parts of the render that are processed on the CPU. Over time, we are working on reducing the list of exceptions to what can be processed on the GPU. For an example of a limitation that can cause some rendering to fall back to the CPU, see this article: “Maximum dimensions in Premiere Pro CS5″.

When rendering is done on the CPU with Maximum Render Quality enabled, processing is done in a linear color space (i.e., gamma = 1.0) at 32 bits per channel (bpc), which results in more realistic results, finer gradations in color, and better results for midtones. GPU-accelerated processing is always performed in a 32-bpc linear color space. To have results match between CPU rendering and GPU rendering, enable Maximum Render Quality.

Note: There are two places to enable or disable Maxium Render Quality—in the sequence settings and in the export settings. The sequence setting only applies to preview renders; the export setting (which defaults to the sequence setting) overrides the sequence setting.

There’s a lot of testing work that goes into making sure that a given card works without problems and actually provides the features in a way that we can support. We don’t want to say that people can use any card and then have some cards cause problems. We learned this the hard way on the After Effects side, where a lot of problems arise from people trying to use the OpenGL features with cards that we haven’t been able to test against and verify.

If there’s a specific card that you want us to add to the list of cards that Premiere Pro can use for CUDA/OpenCL processing, then let us know with a feature request.

As we were beginning the work for Premiere Pro CS5, OpenCL wasn’t far enough along for us to use it for the Mercury Playback Engine.

Premiere Pro CS6 added the ability to process many features with OpenCL. See this page for details.

OpenGL is a different technology that is implemented through GPUs. It is not exclusive of CUDA/OpenCL; it’s a different thing altogether, and a card that uses CUDA/OpenCL will also use OpenGL for some things. OpenGL is used to do such things as render 3D and accelerate drawing of items to the screen. After Effects uses it some. Premiere Pro, not so much.

The term Mercury Playback Engine refers to Premiere Pro. It has nothing to do with After Effects. After Effects CS5 and later is a 64-bit application, and it has been multithreaded for a long time, so those improvements are there. Only the ray-traced 3D renderer in After Effects CS6 uses CUDA (as do a few third-party plug-ins).

This page is a good place to start.

To show in the Effects panel only effects that can be accelerated by CUDA/OpenCL, click the Accelerated Effects icon at the top of the Effects panel.

Here’s a list of the effects and transitions that can be accelerated by CUDA in Adobe Premiere Pro CS5 (5.0.3):

• Alpha Adjust
• Basic 3D
• Black & White
• Brightness & Contrast
• Color Balance (RGB)
• Color Pass
• Color Replace
• Crop
• Drop Shadow
• Extract
• Fast Color Corrector
• Feather Edges
• Gamma Correction
• Garbage Matte (4, 8, 16)
• Gaussian Blur
• Horizontal Flip
• Levels
• Luma Corrector
• Luma Curve
• Noise
• Proc Amp
• RGB Curves
• RGB Color Corrector
• Sharpen
• Three-way Color Corrector
• Timecode
• Tint
• Track Matte
• Ultra Keyer
• Video Limiter
• Vertical Flip
• Cross Dissolve
• Dip to Black
• Dip to White

For a list of additional GPU-accelerated effects in Premiere Pro CS5.5, see this page.

(For a video that briefly covers much of the material in this article, go here.)

If you’ve worked with Adobe Premiere Pro even a little bit, you’ve noticed that colored bars—red, yellow, and green—appear at the bottom of the time ruler at the top of the Timeline panel, above clips in a sequence. These colored bars are often referred to as render bars. But what do they mean, and what does this mean to your work?

First, we need to understand what it means to render a preview.

In the context of computer graphics, rendering is the creation of an image from a set of inputs. For Premiere Pro, this essentially refers to the creation of the frames in a sequence from the decoded source media for the clips, any transformations or interpretations done to fit the source media into a sequence, and the effects applied to the clips.

For clips based on simple source media that match the sequence settings and have only simple effects applied, Premiere Pro can render the frames that make up the sequence in real time. In this case, each frame is rendered for display just before the CTI (current time indicator) reaches it. Premiere Pro caches these results so that it doesn’t unnecessarily redo work when you revisit a frame.

For more complex sets of effects and more difficult source media, Premiere Pro can’t always render the frames of the sequence as fast as needed to play them back in real time. To play these frames in real time, they need to be processed and saved ahead of time, so that they can be read back and played instead of being recalculated on the fly. The creation of these frames to be saved for rapid playback is what is meant by rendering a preview.

By the way, it’s common but confusing and misleading jargon to refer to rendering of previews as rendering all by itself. Rendering for display, rendering for final output, rendering for previews—these are all valid uses of the word rendering. Don’t fall into the trap of using this general term to refer only to the specific case of rendering for the purpose of creating preview files for real-time playback.

Note: Rendering of previews is only for preview purposes. Preview files will not be used for final output unless you have Use Previews option checked on output—which you should not use except in the case of rough previews. Using preview files for final output will in almost all cases cause a decrease in quality. It can speed things up in some cases, so it may be useful for creating a rough preview in less time.

With that preparatory definition out of the way, what do the colored bars mean?

• green: This segment of the sequence has a rendered preview file associated with it. Playback will play using the rendered preview file. Playback at full quality is certain to be in real time.
• yellow: This segment of the sequence does not have a rendered preview file associated with it. Playback will play by rendering each frame just before the CTI reaches it. Playback at full quality will probably be in real time (but it might not be).
• red: This segment of the sequence does not have a rendered preview file associated with it. Playback will play by rendering each frame just before the CTI reaches it. Playback at full quality will probably not be in real time (but it might be).
• none: This segment of the sequence does not have a rendered preview file associated with it, but the codec of the source media is simple enough that it can essentially be treated as its own preview file. Playback will play directly from the original source media file. Playback at full quality is certain to be in real time. This only occurs for a few codecs (including DV and DVCPRO).

Note the uses of the word probably above. The colors aren’t a promise. They’re a guess based on some rather simple criteria. If you have a fast computer, then a lot of things marked with red may play back in real time; if you have a slow computer, then some things marked with yellow may need to be rendered to preview files before the segment can be played in real time.

What kinds of things contribute to a segment getting a certain color of render bar? The general answer is that changes that tend to make processing of a segment much slower will switch it from none to yellow or from yellow to red.

I’ve broken the examples below into separate lists for Mercury Playback Engine GPU Acceleration and Mercury Playback Engine Software Only, which are the two possible settings for Renderer in the Video Rendering And Playback section of the project settings. (For details of CUDA acceleration and the Mercury Playback Engine, see this page for CS5 and this page for CS5.5.) Because Premiere Pro CS5 can use CUDA to accelerate scaling, deinterlacing, blending, and many effects, many things that cause a red render bar in software-only (CPU) mode only cause a yellow render bar in GPU acceleration mode. Even more things are accelerated by CUDA in Premiere Pro CS5.5.

Mercury Playback Engine GPU Acceleration:

• yellow: The source media’s codec is computationally difficult (such as AVCHD). As mentioned above, only very few simple codecs don’t get a yellow bar; these include DV and DVCPRO.
• yellow: The settings of the clip (e.g., pixel aspect ratio, frame rate, field settings) don’t match the settings for the sequence.
• yellow: A CUDA-accelerated video effect or transition has been applied to the clip. (A CUDA-accelerated video transition only causes a yellow bar over the duration of the transition.)
• red: A non-CUDA-accelerated video effect or transition has been applied to the clip. (A non-CUDA-accelerated video transition only causes a red bar over the duration of the transition.)

Mercury Playback Engine Software Only:

• yellow: The source media’s codec is computationally difficult (such as AVCHD). As mentioned above, only very few simple codecs don’t get a yellow bar; these include DV and DVCPRO.
• red: The settings of the clip (e.g., pixel aspect ratio, frame rate, field settings) don’t match the settings for the sequence.
• red: Any video effect or transition has been applied to the clip. (A video transition only causes a red bar over the duration of the transition.)

I hope that from this you will see that a yellow render bar doesn’t mean that something is wrong. It’s entirely normal for most modern codecs. And even a red render bar is to be expected with certain effects or when you are using media of various formats in a sequence. If you see a colored bar, don’t panic.

One of the primary uses for the color bars is to give you the ability to render preview files more selectively.

• When you press the spacebar, Premiere Pro plays the sequence without rendering any additional preview files first.
• When you press the Enter key (or choose Sequence > Render Effects In Work Area), Premiere Pro renders preview files for all segments with red render bars before playing the sequence.
• Unfortunately, there isn’t a default keyboard shortcut for the Render Entire Work Area command. The Render Entire Work Area command renders preview files for all segments with red or yellow bars before playing the sequence. I have customized my keyboard shortcuts to map this command to Shift+Enter.

Above is a sequence in a project set to Mercury Playback Engine Software Only. The footage is 4K RED Cinema footage that matches the sequence settings. The first clip has a non-CUDA-accelerated effect applied. The second has a CUDA-accelerated effect applied. The third clip has no effect applied. The difficult nature of the footage causes it to be marked yellow for “probably will play in real time”. Any effect on these clips in software-only mode causes them to be marked with red render bars.

Switching the project setting to Mercury Playback Engine GPU Acceleration causes the CUDA-accelerated effect to get a yellow render bar instead of the red render bar that it got in software-only mode. The non-CUDA-accelerated effect is still marked as red, though.

I pressed Enter to just create a rendered preview file for the segment with the red render bar…

… and then pressed Shift+Enter to use my custom keyboard shortcut for Render Entire Work Area.

Video2Brain has recently released a new training workshop aimed at folks just beginning with Premiere Pro, Getting Started with Adobe Premiere Pro CS5.

Maxim Jago did a great job (with Jan Ozer) creating the comprehensive Adobe Premiere Pro CS5: Learn By Video training DVD and book, as well as Premiere Pro CS5 for Avid Editors. It’s good to see him back with this series on the basics.

Here are a few free sample video tutorials from this workshop:

• “Starting up and creating a project” (more)
• “Keyframing made simple” (more)
• “Nesting, auto-nesting, and working with nested sequences” (more)

Video2Brain has been quite busy lately, putting out several DVDs and online training series about Adobe professional video applications. Other notable recent releases include After Effects CS5: Learn By Video and the free After Effects CS5: Frequently Asked Questions.

For additional, free getting-started resource for Premiere Pro, see “Getting started with Adobe Premiere Pro (CS4, CS5, and CS5.5)” and “Getting started and Help pages in several languages”.

We also said that we’d post a set of links for more information about all of the things that we covered. See this post for those details.

In Creative Suite 4, Dynamic Link was a one-way street. If you used Dynamic Link to send information from, say, After Effects to Adobe Premiere Pro, you couldn’t later use Dynamic Link to send information from Adobe Premiere Pro to After Effects. You had to restart the applications to reset the direction and use Dynamic Link going the other direction.

In Creative Suite 5, that limitation is gone. This is a huge improvement. But most people didn’t notice, because we didn’t trumpet this in our lists of new features. The only way that you would’ve known is if you noticed that the note in the CS4 documentation about the limitation had vanished from the CS5 documentation.

There are still some somewhat obvious limits related to the fact that you can’t have a circular, recursive reference (e.g., composition A links to sequence B, which also links to composition A). These limitations are described in “About Dynamic Link”.

For a list of the ways that you can move things back and forth between After Effects and Adobe Premiere Pro, and links to more information, see this page:
“Working with Adobe Premiere Pro and After Effects”

For a complete list of new and changed features in After Effects CS5, see “What’s new in After Effects CS5″.

For highlights of new and changed features in Adobe Premiere Pro CS5, see “What’s new in Adobe Premiere Pro CS5″.

Oh, and while I have your attention: Be sure to update your software. Really. I spend most of every day helping people to get past problems with their software, and the great majority of problems are fixed by applying the available updates.

If Adobe Application Manager hasn’t already told you about this, go ahead and check for new updates for Premiere Pro CS5. Ideally, you should check for updates by choosing Help > Updates. But you can also directly download the update packages from the download pages for Windows or Mac OS, using the “Adobe Premiere Pro CS5 5.0.3 update” link. If you use the manual process, you must choose the correct patcher based on your original installation type.

If you have difficulty with this update, please bring questions and issues to the Adobe Premiere Pro forum. Don’t ask questions in the comments on this blog post, which fewer people will see.

There are a lot of bug fixes and some changes in capabilities in this update. This article gives the the generally relevant information. You can read more details in the Adobe Premiere Pro 5.0.3 release notes. Also, note that this update includes all fixes and changes made in the Adobe Premiere Pro CS5 (5.0.2) update.

You should also install the After Effects CS5 (10.0.1) update and Adobe Media Encoder CS5 (5.0.1) update (Windows or Mac OS) while you’re at it.

Adobe Premiere Pro CS5 (5.0.3) adds support for the following graphics cards to accelerate processing using CUDA technology on the GPU:

• Quadro 5000M (Windows only), which is for mobile (i.e., laptop) computers
• Quadro 4000 for Mac OS (The Windows version was enabled by the Adobe Premiere Pro CS5 (5.0.2) update.)

For a complete list of graphics cards for which the CUDA acceleration features are provided and supported, see the Premiere Pro system requirements page. For more information about CUDA acceleration of processing and the Mercury playback engine in general, see Premiere Pro Help.

Note that we were able to find and fix a lot of these problems because of the great feedback that we got when we asked people to use the crash reporter. Please keep doing so. And don’t hesitate to file bugs and send feature requests.

Here’s a partial list of bug fixes in this update:

• Improved stability of capturing on Windows.
• Improved performance for interactions with user interface for effects.
• Improved performance of editing in long sequences containing transitions.
• QuickTime movies containing video encoded with Animation or ProRes codecs caused long delays or hangs if the Cineform importer was installed. This is fixed.
• Custom action-safe guides were shifting position during direct manipulation. This is fixed.
• Double-clicking a title opened the Source Monitor panel instead of the Titler panel when the Project panel was in Icon view. This is fixed.
• MXF files with 4:2:0 color subsampling created by a Nexio system can now be imported by the XDCAM HD importer.
• Fixed issues regarding indexing of MPEG files, including unresponsive UI during indexing and some cases of unnecessary re-indexing of media shared across a network.
• Dissolves were not behaving correctly when processed by CUDA when opacity keyframes were present. This is fixed.
• The Crop effect was being rendered incorrectly when processed by CUDA when the clip was scaled to frame size. This is fixed.
• Rendering of previews got stuck in a never-ending loop state under some circumstances. This is fixed.
• Audio was not exported via SDI when exporting to tape. This is fixed.
• Master clips imported into projects using Final Cut Pro XML import were stripped of their unique identifiers. This is fixed.

We have also been working with several providers of plug-ins, codecs, and hardware devices (such as Cineform and BlackMagic) to assist them in updating their software to fix some errors and crashes. Please take this opportunity to download and install updated codecs, plug-ins, and drivers from these providers, as relevant to your work.

• Possible hang on start if firewall or other software (such as ZoneAlarm or FileMaker) blocks communication between Premiere Pro and related components. (See this Technical Support document for more information and solutions.)

One aspect of this feature is the ability to choose a language for the speech to be analyzed: English, French, German, Italian, Korean, Japanese, or Spanish. Unfortunately, it’s not clear from within Premiere Pro that you need to download separate speech analysis models for each language in order to choose and use one of these additional languages.

So, here’s a link:
Download speech analysis models.

This page includes instructions for using the speech analysis feature, as well as links to several tutorials and examples showing how to make use of the XMP metadata created from the speech:
“Analyze speech for text XMP metadata”

A lot of people are talking about CUDA and the GPU in the context of Premiere Pro. But the talk is almost always about speed, speed, and more speed. Yeah, using CUDA on the GPU to process a lot of effects and such does speed things up (a lot!) in many cases, but that’s not the whole story.

Moving a lot of processing to the GPU can also make things better, not just faster.

A good example is scaling. There are lots of different scaling algorithms, and they each have their pros and cons. Some are better for scaling things up, some are better for scaling things down; some are better for sharp graphics, and some are better for gradual changes in color across an image. The real tradeoff, though, is that the high-quality algorithms are also—in general—the slow algorithms.

However, these higher-quality algorithms are only really slow if you are forced to execute them serially, but they are relatively fast when you can run them in parallel. One of the huge advantages of GPU processing is that GPUs are massively parallel, with hundreds of parallel processing units. There are a lot of pixel operations that are very amenable to parallel processing, since you don’t need to know the result of the operation on one pixel to do the same operation on its neighbor in the same image. Scaling is just such an operation. When you move scaling operations to the GPU, you get to take advantage of scaling algorithms that were just plain unfeasible on the CPU.

So, scaling using CUDA can be better. And faster. In some tests done here, scaling was more than 40 times faster on the GPU than on the CPU at maximum quality.

When Premiere Pro is just using the CPU for the processing of scaling operations, it uses the following scaling methods:

• playback: bilinear
• paused: Gaussian low-pass sampled with bilinear
• high-quality export (Maximum Render Quality off): Gaussian low-pass sampled with bilinear
• Maximum Render Quality export: variable-radius bicubic

The variable-radius bicubic scaling done on the CPU is very similar to the standard bicubic mode in Photoshop, though the Premiere Pro version is multi-threaded and optimized with some SSE instructions. Even with these optimizations, it is still extremely slow. For high-quality scaling at faster-than-real-time processing, you need to use a CUDA card.

When Premiere Pro is using CUDA on the GPU to accelerate the processing of scaling operations, it uses the following scaling methods:

• playback: bilinear
• paused: Lanczos 2 low-pass sampled with bicubic
• export: Lanczos 2 low-pass sampled with bicubic

For export, scaling with CUDA is always at maximum quality, regardless of quality settings. (This only applies to scaling done on the GPU.) Maximum Render Quality can still make a difference with CUDA-accelerated exports for any parts of the render that are processed on the CPU. Over time, we are working on reducing the list of exceptions to what can be processed on the GPU. For an example of a limitation that can cause some rendering to fall back to the CPU, see this article: “Maxium dimensions in Premiere Pro CS5″.

When rendering is done on the CPU with Maximum Render Quality enabled, processing is done in a linear color space (i.e., gamma = 1.0) at 32 bits per channel (bpc), which results in more realistic results, finer gradations in color, and better results for midtones. CUDA-accelerated processing is always performed in a 32-bpc linear color space. To have results match between CPU rendering and GPU rendering, enable Maximum Render Quality.

Note: There are two places to enable or disable Maxium Render Quality—in the sequence settings and in the export settings. The sequence setting only applies to preview renders; the export setting (which defaults to the sequence setting) overrides the sequence setting.

One final note, as long as I have your attention:
I’ve noticed a lot of people—the vast majority, really—using the term ‘Mercury’ or ‘Mercury playback engine’ as if it refers specifically to CUDA processing. Not true. The term ‘Mercury playback engine’ refers to a whole set of performance improvements in Premiere Pro, including the port to a 64-bit application, the multi-threaded nature of the application, and the use of CUDA on the GPU to accelerate some things. Anyone using Premiere Pro CS5 or later is getting all but one of these advantages; people with certified CUDA cards are getting one additional advantage.

64-bit application
Adobe Media Encoder CS5 now comes in a 32-bit version and a 64-bit version. The version that works with Premiere Pro and After Effects is the 64-bit version. (You don’t need to manually choose which one to use. This is taken care of automatically.) A 64-bit application can address more memory, which gives it the ability to work with larger frames and tends to make the application more stable.

export settings that automatically match sequence settings in Premiere Pro
Choose Match Sequence Settings when exporting from Premiere Pro. See “Workflow and overview for exporting”.

Similarly, when you choose a format, AME CS5 will in many cases automatically select the most appropriate encoding preset for that format based on characteristics of the source item. See “Encoding presets”.

much better controls for cropping and trimming before encoding
You can crop and trim the portion of the item to be encoded much more easily. One such improvement is the ability to select the work area (as defined in Premiere Pro or After Effects) as the area to be encoded and exported. See “Crop and trim source before encoding”.

footage interpretation
As with After Effects and Premiere Pro, AME now has an Interpret Footage command, so you can correct settings for input files if the application guesses wrong. See “Interpret items in the encoding queue”.

new export formats, including AVC-Intra
See “File formats supported for export”.

added preferences for managing the media cache database
See “The media cache database”.

preserving source timecode on output
AME CS5 honors timecode information in a source file. If the source starts from 00:00:05:00, then the timeline for the item in Adobe Media Encoder also starts from 00:00:05:00, and not from zero. This timecode information is included in the encoded output file.

improvements to XMP metadata workflow (including metadata thinning)
Among other improvements, you can choose what XMP metadata to pass through into the encoded output file. See “Export and thin XMP metadata”.

cue points for F4V files in data track
Previously, cue points for F4V files were only stored in an XML file. Now they can be embedded in the data track of the F4V file. See “Cue points for FLV and F4V video files”.

lots of little user interface tweaks to make things easier to find and use
Some things were moved out of hard-to-find menus and into the main UI area. Some things were renamed to make them more clear. Et cetera.

The team Premiere Pro Twitter account goes by the name adobepremiere. Follow us.

Our Adobe Premiere Pro Facebook page has been active for a while now. Become a fan. Or friend. Or like us. Or whatever that’s called.

These are both team accounts, so you’ll be seeing things from me, from the software engineers, from the quality engineers, and so on.

We still use our blogs as a way to communicate things that we don’t want evaporating into the ether, the way that things on Facebook and Twitter seem to do so quickly. But the Twitter and Facebook channels are great ways to keep up with a (somewhat) steady stream of news and views.

So, please subscribe to this blog.

The Premiere Pro product manager (Al Mooney) also has his own blog and his own Twitter account, al_mooney.

Kevin Monahan, the new documentation lead for After Effects and Premiere Pro has his own blog and Twitter handle (@kev_mon), too.

We also really appreciate feature requests and bug reports.

If you have technical questions or need some help, the best way to ask is through the Premiere Pro forum. Several video editing professionals help people on that forum. The Premiere Pro team monitors that forum, too, so we can help you to get an answer there. When asking such a question, please supply information about the version number of your software, some details about your computer, et cetera.

These videos are collected on this page, which will accumulate more videos as Jason and others create new videos in this series.

(You can find even more information about DSLR/HDSLR video workflows using Premiere Pro using this Premiere Pro Community Help search.)

Jason’s videos are a whirlwind tour, covering a lot of material very quickly. I figured that some viewers might need links to additional information to fully understand everything that Jason was trying to communicate.

Here’s a rough breakdown of the subjects covered in each video, with some links to additional resources on each subject.

part 1: importing and setting up

• getting photos from camera with Adobe Bridge
• creating and setting up a project
• creating a sequence and choosing a sequence preset
• importing files with the Media Browser
• other methods for importing files
• previewing a sequence
• setting playback and pause resolution in Source Monitor and Program Monitor

part 2: basic editing

• importing still images
• setting default duration for imported still images
• extending a clip
• ripple insert edits
• ripple delete edits
• transitions

part 3: animation and markers

• markers
• basics of keyframes
• “easing” keyframe animation by modifying keyframe interploation
• animating Motion effect to scale and position a clip
• copying and reusing keyframes

part 4: integration with Photoshop and working with text

• importing Photoshop files
• using Edit Original to modify PSD file in Photoshop
• scale clip to frame size
• adjusting opacity
• titles

part 5: exporting

• overview of exporting
• export settings
• FLV, F4V, and H.264 formats and codecs

Now, it’s my pleasure to introduce my replacement in the role of “Community and Content Lead” (otherwise known as “documentation lead”) for After Effects, Premiere Pro, and Adobe Media Encoder.

I asked Kevin if he minded me sharing his email address with y’all, as I have done with my own, and he said that he’d like to continue the pattern of openness. So, here it is: kmonahan -at- adobe -dot- com

Kevin is especially interested in continuing the process of finding, linking to, and enabling the great tutorials, articles, and other resources that can add to the system of resources that can be used to learn Premiere Pro.

Of course, the best way to give feedback about the Premiere Pro Help document is still to add a comment at the bottom of the relevant page. You can add comments to add information, to add links, to make corrections, or to ask for clarification.

• Premiere Pro CS6 quick-start guide for Final Cut Pro users (PDF document)
• Premiere Pro CS6 quick-start guide for Avid Media Composer users (PDF document)

video2brain offers a course by Maxim Jago: Premiere Pro CS6 for Avid and Final Cut Pro Editors

Peachpit Press offers a book by Rich Harrington, Robbie Carman and Jeff Greenberg that is very good for the experienced editor moving to Premiere Pro from another NLE: An Editor’s Guide to Adobe Premiere Pro

Many more resources for getting started with Premiere Pro CS6 are here.

For details of what’s new and changed in Premiere Pro CS6, start here.

You can order Premiere Pro CS6 with CS6 Production Premium here … or try it free for 30 days.

If you have questions, please come to the Adobe Premiere Pro forum, where Adobe personnel and fellow users can help you.

If Adobe Application Manager hasn’t already told you about this, go ahead and check for new updates for Premiere Pro CS5. Ideally, you should check for updates by choosing Help > Updates. But you can also directly download the update packages from the download pages for Windows or Mac OS, using the “Adobe Premiere Pro CS5 5.0.2 update” link. (If you download from the web page, you must choose the correct patcher based on your original installation type.)

If you have difficulty with this update, please bring questions and issues to the Premiere Pro forum. Don’t ask questions in the comments on this blog post, which fewer people will see.

There are a lot of fixes and tweaks in this update. You can read the complete list in the Premiere Pro 5.0.2 release notes. I’ll mention a few changes and fixes here, since some of these are important enough that I really want to make sure that people see them.

You should also install the Adobe Media Encoder CS5 (5.0.1) update (Windows or Mac OS), which got some bug fixes and additional formats and export settings presets, including several for F4V and FLV formats. (The download pages might not be updated yet at the time that you’re reading this.)

The After Effects CS5 (10.0.1) update is also available.

• We made several improvements to RED (R3D) import and workflow. See the last section of this post for details.
• Premiere Pro CS5 now integrates with CS Review.
• QuickTime (.mov) files from JVC solid-state cameras can be imported.
• Added sequence presets: Canon XF MPEG2 720p30 and Canon XF MPEG2 720p25.
• Premiere Pro CS5 (5.0.2) can export MXF files containing MPEG-2 essence items that comply with the XDCAM HD format used by such systems as Avid Unity. The standalone Adobe Media Encoder can also export files in this format.
• Added support for source timecode in XDCAM HD422 files.
• Added 10-bit DisplayPort support for NVIDIA Quadro cards on Windows.
• Audio files in Broadcast Wave (.wav) format can be imported, and timecode in these files is read and preserved. Audio in exported OMF files can be in Broadcast Wave format.
• Premiere Pro CS5 (5.0.2) for Windows adds support for the following graphics cards to accelerate processing using CUDA technology on the GPU: GTX 470, Quadro 4000, and Quadro 5000. For a complete list of supported graphics cards, see the Premiere Pro system requirements. For more information about CUDA acceleration of processing and the Mercury playback engine in general, see Premiere Pro Help.

There are a lot of fixes in this update. For details and a very long list of fixes, see the Premiere Pro 5.0.2 release notes.

Note that we were able to find and fix a lot of these problems because of the great feedback that we got when we asked people to use the crash reporter. Please keep doing so. And don’t hesitate to file bugs and send feature requests.

Here’s a partial list of bug fixes in this update:

• Various crashing issues fixed.
• When using AIFF source audio, previews and rendered and exported audio were scrambled or jumped around. (See this Technical Support document.)
• Adobe Premiere Pro projects files were growing very large (“bloating”), causing projects to take a long time to load, and sometimes causing projects to fail to load.
• The time to start Premiere Pro, load workspaces, and load a project have been decreased (improved).
• Title Designer panel showed no background video.
• XDCAM HD422 files generated by Convergent Design Nano Flash were imported with garbled audio.
• XDCAM EX media in a project was reconformed every time the project was opened.
• Four-channel audio recorded by Sony XDCAM EX camera was not being imported correctly.
• GPU-accelerated export through Adobe Media Encoder didn’t work correctly on Windows.
• Audio-only capture on Mac OS failed.
• Time required to render a preview increased each time the sequence was rendered.
• BMP and GIF files were not importing on Mac OS.
• Preview files were missing when a project was reopened.
• Various fixes for color shifts, gamma shifts, and incorrect color rendering for many formats and codecs.
• Various fixes for Final Cut Pro XML export. (See this page for details.)
• Various timecode fixes.
• Various fixes for performance and stability when using still-image files.
• Various fixes for performance, stability, and fidelity of CUDA-accelerated rendering using the GPU rendering pipeline in the Mercury playback engine (MPE).
• Various fixes for Firewire (IEEE 1394) output.
• Various fixes for Panasonic P2 media.
• Various fixes for audio and video being out of synch and audio playing at the wrong time.

One of the fixes for audio and video synchronization problems involves the MPEG index (.mpgindex) files created when Premiere Pro indexes imported MPEG-based media. If you re-index these files after installing the update, some problems with audio playing at the wrong time may be fixed. You can cause a file to be re-indexed by deleting the associated MPEG index files from the media cache.

We have also been working with several providers of plug-ins, codecs, and hardware devices (such as Cineform and BlackMagic) to assist them in updating their software to fix some errors and crashes. Please take this opportunity to download and install updated codecs, plug-ins, and drivers from these providers, as relevant to your work.

See the Premiere Pro 5.0.2 release notes for other known issues.

• Possible hang on start if firewall or other software (such as ZoneAlarm or FileMaker) blocks communication between Premiere Pro and related components. (See this Technical Support document for more information and solutions.)

• Updated support for build 30 (Mysterium-X sensor, new color science) support: This is the same support that’s available as the RED3 Importer prerelease available on the Adobe Labs website. The difference is that the new RED importer software is installed with the Premiere Pro 5.0.2 update, so you don’t need to install the importer plug-in from the Labs website. For more information about changes and bug fixes in this importer, and how to make it work, see this blog post about the updated RED importer.

  Note: If you save a project using R3D files from Premiere Pro CS5 5.0.2 and then open the same project in Premiere Pro CS5 5.0.0 or 5.0.1, R3D footage items in that project will be reset to default source settings. Premiere Pro CS5 5.0.0 and 5.0.1 use an older version of the RED importer plug-in. Also, Premiere Pro CS4 and Premiere Pro CS5 (5.0.0 and 5.0.1) projects that use color science version 1 will use the new color science (version 2) when opened using Premiere Pro CS5 (5.0.2). If you are using R3D footage in a multiple-machine environment, make sure all machines are using the same version of Premiere Pro.

• Initial support for RMD metadata sidecar files: RED (R3D) video files can store settings in RMD (RED metadata) sidecar files. Premiere Pro 5.0.2 introduces a Save RMD button in the lower right of the RED R3D Source Settings dialog box, with which you can save the current settings in the dialog box to an RMD sidecar file. You can also load or reload a sidecar file and set the settings in the dialog box to those in the sidecar file by clicking the Reload From RMD button. If there is no RMD sidecar file associated with the video file, the Reload From RMD button resets the settings to the defaults.
• Support for RED Rocket cards: RED Rocket cards are optional cards that can accelerate decoding and debayering of RED (R3D) files. To tell Premiere Pro to make use of an installed RED Rocket card, use the Enable RED Rocket (Global Setting) menu in the RED (R3D) Source Settings dialog box. The options are None, One, and All. The One and All settings refer to the maximum number that will be used by Premiere Pro; if fewer are available, then only the available number will be used. If another application acquires the ROCKET card before Premiere Pro does, Premiere Pro does not display a message at launch that it will fall back to software (non-ROCKET) rendering.

These are just the English-language documents. I gave links to some documents in other languages here.

Note that for each application there is a link for CS5 and CS5.5/CS5.1, as well as a link for CS6. The CS6 link actually goes to a document that includes information about CS5, CS5.5/CS5.1, and CS6 versions of the application—all together. Unfortunately, there is no document for just the CS6 version of each application.

If you’re using CS5, CS5.1, or CS5.5 versions, you’ll want to use the link for just CS5 and CS5.5/CS5.1 versions. The PDF documents that include documentation for CS6 versions are missing many features found in the documents for CS5 and CS5.5, including working cross-reference links.

Important: If you have feedback about CS6 documentation, please give it on the Community Help forum, where the right people will see it, not in the comments of this blog post.

• Adobe Media Encoder
  • CS6 (PDF)
  • CS5 & CS5.5 (PDF)
  • Help & Support (HTML)
• After Effects
  • CS6 (PDF)
  • CS5 & CS5.5 (PDF)
  • Help & Support (HTML)
• Audition
  • CS6 (PDF)
  • CS5.5 (PDF)
  • Help & Support (HTML)
• Contribute
  • CS5 (PDF)
  • Help & Support (HTML)
• Device Central
  • CS5 & CS5.5 (PDF)
  • Help & Support (HTML)
• Dreamweaver
  • CS6 (PDF)
  • CS5 & CS5.5 (PDF)
  • Help & Support (HTML)
• Encore
  • CS6 (PDF)
  • CS5 & CS5.1 (PDF)
  • Help & Support (HTML)
• Fireworks
  • CS6 (PDF)
  • CS5 (PDF)
  • Help & Support (HTML)
• Flash Catalyst
  • CS5.5 (PDF)
  • Help & Support (HTML)
• Flash Professional
  • CS6 (PDF)
  • CS5 & CS5.5 (PDF)
  • Help & Support (HTML)
• Flash Builder
  • 4.6 (PDF)
  • Help & Support (HTML)
• Flex
  • 4.6 (PDF)
  • 4.5 (PDF)
  • Help & Support (HTML)
• Illustrator
  • CS6 (PDF)
  • CS5 (PDF)
  • Help & Support (HTML)
• InCopy
  • CS6 (PDF)
  • CS5 & CS5.5 (PDF)
  • Help & Support (HTML)
• InDesign
  • CS6 (PDF)
  • CS5 & CS5.5 (PDF)
  • Help & Support (HTML)
• OnLocation
  • CS5 (PDF)
  • Help & Support (HTML)
• Photoshop
  • CS6 (PDF)
  • CS5 & CS5.1 (PDF)
  • Help & Support (HTML)
• Prelude
  • CS6 (PDF)
  • Help & Support (HTML)
• Premiere Pro
  • CS6 (PDF)
  • CS5 & CS5.5 (PDF)
  • Help & Support (HTML)
• Soundbooth
  • CS5 (PDF)
  • Help & Support (HTML)
• SpeedGrade
  • CS6 (PDF)
  • Help & Support (HTML)
• Adobe Story
  • PDF
  • Help & Support (HTML)
• Bridge and Camera Raw
  • CS6 (PDF)
  • CS5 & CS5.5 (PDF)
  • Help & Support (HTML)

Other documents in the Help system, including reference documents

Several applications have additional documents, including API references, programmer’s guides, and other resources for creating and using extensions. For those documents, see the respective home pages for the documents listed above.

You can run the suite of tests and use the results to determine where the performance bottlenecks are with your computer system. The results posted on the website give really good insight into what factors matter for performance, even without you running the tests yourself.

Harm and Bill give good instructions for interpreting results and general hardware advice.

Harm and Bill are also both very active on the Premiere Pro forum, especially the Hardware forum, where performance tuning is always a hot topic.

There’s additional information and links to other resources about setting up a system to optimize performance here:
“optimizing for performance: Adobe Premiere Pro and After Effects”

We’ve just published some new pages with getting-started resources, Help documents, and additional community resources in several languages.

• Premiere Pro Help & Support (FAQ list; Top issues; Editor’s picks of most useful resources)
• Learn Premiere Pro (Getting started; Learn more)
• What’s new in Premiere Pro
• Video tutorials
• Search the Premiere Pro Help document

More information on how to find information about Premiere Pro is here: “How to search for Premiere Pro tutorials, Help, and more”

Die folgenden Übungen und Lernressourcen, die von Adobe und Experten der Community vorbereitet wurden, bieten Anfängern und erfahrenen Anwendern einen Überblick über Premiere Pro.

• Hilfe un Support zu Premiere Pro (Problembehebung; Empfehlungen)
• Lerne Premiere Pro (Erste Schritte; Weitere Ressourcen)
• Neue und geänderte Funktionen in Premiere Pro
• Video-Lehrgänge
• Suchen: Nur dieser Verweis (Verwenden von Premiere Pro)

Ces didacticiels et ressources de formation proposés par Adobe et des experts de la communauté donnent aux utilisateurs néophytes et chevronnés un bon aperçu d’Adobe Premiere Pro.

• Aide et Support d’Adobe Premiere Pro (Résolution des problèmes; Les meilleures sélections)
• Se former à Premiere Pro (Prise en main; Pour en savoir plus)
• Nouveautés et fonctions modifiées dans Premiere Pro
• tutoriels vidéo
• Rechercher: Cette référence uniquement (Utilisation d’Adobe Premiere Pro)

アドビとコミュニティエキスパートによるこれらのチュートリアルと学習リソースでは、初心者も上級レベルのユーザーも Premiere Pro の概要を確認できます。

• Premiere Proヘルプ＆サポート
• 基本的なワークフロー
• 新機能 (Premiere Pro)
• ビデオチュートリアル
• この参照のみ (Premiere Pro ユーザガイド)

• Ayuda y Soporte de Premiere Pro
• Flujo de trabajo básico
• Novedades (Premiere Pro)
• tutoriales en vídeo
• Buscar: Sólo esta referencia (Uso de Premiere Pro)

• Guida e Supporto di Premiere Pro
• Flusso di lavoro di base
• Novità (Premiere Pro)
• esercitazioni video
• Ricerca: Solo questo riferimento (Utilizzo di Premiere Pro)

There have been quite a few questions lately on various forums about what the maximum image (frame) size is that Premiere Pro can handle.

This confusion is understandable, since there are actually several different limits depending on exactly which kind of image frame you’re talking about, and there were changes to the numbers for Premiere Pro CS5.

sequence size:

The maximum sequence frame size in pixels is 10,240×8,192 (widthxheight). If you attempt to set one of the Frame Size dimensions higher than this limit in the Sequence Settings dialog box, Premiere Pro will reset the value to the maximum.

still image and movie size:

The maximum frame size that can be imported for still images and movies is 256 megapixels, with a maximum dimension of 32,768 pixels in either direction.

For example, an image that is 16,000×16,000 pixels is OK, as is one that is 32,000×8,000, but an image that is 35,000×10,000 pixels can’t be used.

CUDA acceleration:

Whether a frame can be processed by the CUDA hardware acceleration portion of the Mercury Playback Engine depends on the size of the frame compared to the amount of GPU memory.

To be processed by the CUDA hardware acceleration, a frame requires ((widthxheight)/16,384) megabytes.

If that value exceeds the available memory, Premiere Pro will use the CPU only for rendering of the current segment.

This means that some images will not use CUDA acceleration on some cards but will on others.

For example, one image size from a Canon T2i is 5184×3456. Doing the math, this requires 1,094MB, which just exceeds the 1GB available on the Quadro FX 3800, but is still within the 1.5GB of the Quadro FX 4800.

In the case of FLV files, including the alpha channel just requires making sure that the Encode Alpha Channel box is checked.

QuickTime, AVI, and some other formats require you to specify the inclusion of an alpha channel from a color depth or channels menu. In some cases, a plus sign (as in Millions Of Colors+) denotes an alpha channel. In other cases, choosing to output to 32 bits per pixel implies the inclusion of the alpha channel; this refers to an output depth of 8 bits per channel for each of four channels: RGBA (where A is for alpha).

For general information about exporting, see “Workflow and overview for exporting”.

1. Select the sequence.
2. Choose File > Export > Media.
3. In the Export Settings dialog box, choose FLV|F4V from the Format menu.
4. Choose an FLV preset from the Preset menu.
5. On the Video tab, select Encode Alpha Channel.
6. Set other settings and click Export or Queue to export as you normally would.

1. Select the sequence.
2. Choose File > Export > Media.
3. In the Export Settings dialog box, choose Microsoft AVI or QuickTime from the Format menu.
4. On the Video tab, choose PNG, None, or Animation from the Video Codec menu, and choose 32 from the Depth menu.
5. Set other settings and click Export or Queue to export as you normally would.

• Premiere Pro CS5 Help
• Adobe Media Encoder CS5 Help
• Premiere Pro CS4 Help
• Adobe Media Encoder CS4 Help
• After Effects CS5 Help

Now would be a good time to grab a fresh copy of the PDF version, which you can do from the top of any page of the HTML versions linked to above.

I incorporated information and corrections from several hundred comments. We really appreciate it when you add comments to the pages of Help on the Web to give some additional information, links to tutorials, corrections, et cetera. (One thing that comments on the Help pages aren’t good for is questions that are better suited for the user-to-user forums.)

By the way, this was my last act as documentation lead for After Effects (which I have been for several years), Adobe Media Encoder (which I have been for several months), and Premiere Pro (which I have been for a few weeks).

I’m now in Adobe Technical Support, focusing on providing online technical support for these same applications. So, you’ll see plenty of me if you spend any time on our forums. Now more than ever I will be trying to help y’all solve problems with using these applications and trying to make sure that your feedback gets to the right place. With that in mind, please read this post about how to send feedback and communicate with us. We really want to help, and we really want your feedback, but it’s crucial that it come through the right channels so that the right people can see it. (I wrote that post for After Effects, and I’ll soon write one targeted at Premiere Pro, but the information is all the same but a few details.)

This blog post is a summary of some of these resources, and links to some that aren’t captured on this page.

Note that most aspects of working with most of these formats in After Effects and Premiere Pro are not significantly different from working with movie files using other formats and codecs, so the instructions for importing and exporting are much as you find in the general documentation on importing and exporting in After Effects Help and Premiere Pro Help:

• “Importing and managing footage items” (After Effects)
• “Rendering and exporting” (After Effects)
• “Transfering and importing files” (Premiere Pro)
• “Exporting” (Premiere Pro)

These workflow guides were written for Premiere Pro CS6 and After Effects CS6, but most of the material is still useful if you’re still using the CS5.5 version. If you don’t yet have CS6 Production Premium, you can order it here… or try it free for 30 days so that you can make full use of the features described here.

“Using Adobe Premiere Pro with RED digital cinema content”

This paper gives an overview of working with RED (R3D) digital cinema files.

Recently, Adobe and RED presented an hour-long online seminar about using Adobe software with RED Digital Cinema cameras. Representing RED was Ted Schilowitz, and representing Adobe was Wes Howell, software quality engineer.

If you have questions about using RED Digital Cinema cameras and footage with Premiere Pro and After Effects, the best place for those questions is the RED User forum, where several experienced editors and Adobe staff are active.

“Adobe Creative Suite Production Premium: End-to-end workflows for Panasonic P2 and P2HD cameras”

This paper describes working with footage from Panasonic P2 and P2HD cameras in AVC-Intra 50, AVC-Intra 100, DV, DVCPRO, DVCPRO50, and DVCPRO HD formats.

• Part 1: aquiring and archiving P2 footage
• Part 2: ingesting and logging footage in Adobe Prelude CS6 (more detail here: Adobe Prelude Help)
• Part 3: working with P2 footage in Premiere Pro (more detail here: “Import assets in tapeless formats” and “Export to Panasonic P2 format”)
• Part 4: working with P2 footage in After Effects (more details here: “Import assets in Panasonic P2 format”)
• Part 5: delivery options and working with P2 footage in Adobe Media Encoder (more details here: Adobe Media Encoder Help)

“Adobe Creative Suite 5 Production Premium: End-to-end editing workflows with Panasonic AVCCAM cameras”

This paper describes working with footage from Panasonic AVCCAM cameras using the AVCHD codec.

• Part 1: aquiring and archiving AVCHD footage
• Part 2: ingesting and logging footage in Adobe Prelude CS6 (more detail here: Prelude Help)
• Part 3: working with AVCHD footage in Premiere Pro (more detail here: Premiere Pro Help)
• Part 4: working with AVCHD footage in After Effects (more details here: After Effects Help)
• Part 5: delivery options and working with AVCHD footage in Adobe Media Encoder (more details here: Adobe Media Encoder Help)

“Using Adobe Premiere Pro with Canon Digital Video Cameras”

This paper covers video formats used by Canon video cameras–DV, HDV, AVCHD, and Canon XF (MPEG-2).

Adobe Premiere Pro also offers native support for high-definition video shot with the Canon 5D Mark II, 5D Mark III, 7D, 1D Mark IV, and EOS Rebel T2i DLSRs. For the DSLR workflow, see Karl Soule’s video, “Working with HD digital SLR footage in Premiere Pro”.

Jason Levine has a series of video tutorials on Adobe TV that show how to shoot and edit HD video from DSLR cameras using Premiere Pro and other applications in Creative Suite Production Premium. These videos are aimed at photographers and other folks who are somewhat new to video editing, so this series serves as a pretty good overview of Premiere Pro in general.

“Using Adobe Premiere Pro with tapeless Sony XDCAM content”

This paper describes working with footage from Sony XDCAM cameras in XDCAM, XDCAM HD, XDCAM HD 50, XDCAM EX formats.

“Using Adobe Premiere Pro CS6 with file-based JVC ProHD content”

This paper describes working with footage from JVC ProHD camcorders.

Adobe and its partners provide a basic set of video tutorials on the Adobe website (CS5+CS5.5, CS4, CS3), in addition to excellent tutorials provided by other members of the community.

Because most features don’t change substantially from one version to the next, most materials created for Premiere Pro CS3 are still valid and useful for Premiere Pro CS5 and CS5.5. I find that many of the tutorials created for CS3 are still very much worth watching.

Many sections of Premiere Pro Help refer to additional video tutorials in context to provide information about specific features. If you know of an excellent video tutorial or other resource about Premiere Pro, please leave a comment at the bottom of the relevant page of Premiere Pro Help on the Web to tell others about it.

From the Community Help page, you can also search for community resources not on the Adobe website.

アドビ システムズ社で、ビデオチュートリアルの基本セットを提供しています(CS5 + CS5.5, CS4, CS3)。他にも、コミュニティのメンバーから提供された優れたチュートリアルも提供しています。

Premiere Pro のヘルプでは、特定の機能に関する情報を提供するために、文中で様々なビデオチュートリアルを参照しています。 Premiere Pro の日本語チュートリアルや、日本語で説明された制作例などをご存知でしたら、Premiere Pro オンラインヘルプの該当するページのコメント欄にてご紹介ください。コメント欄は、各ページの一番下にあります。

コミュニティヘルプページでは、アドビ システムズ社の Web サイト以外のコミュニティリソースも検索することができます。

Adobe und seine Partner stellen der Adobe-Website einige grundlegende Video-Lehrgänge bereit (CS5 + CS5.5, CS4, CS3). Sie werden ergänzt durch hervorragende Lehrgänge von anderen Community-Mitgliedern.

In vielen Abschnitten der Premiere Pro-Hilfe wird auf weitere, kontextbezogene Video-Lehrgänge verwiesen, die über spezifische Funktionen informieren. Wenn Sie interessante und hochwertige Tutorials oder andere Quellen kennen, die sich mit Premiere Pro beschäftigen oder artverwandte Themen behandeln, hinterlassen Sie bitte einen Kommentar auf der jeweiligen zugehörigen Seite der Adobe Premiere Pro Onlinehilfe, so dass andere Anwender diese auch finden können.

Auf der Seite Community Help können Sie auch nach Community-Ressourcen suchen, die nicht Teil der Adobe-Website sind.

Adobe et ses partenaires proposent un ensemble basique de tutoriels vidéo sur le site Web d’Adobe (CS5 + CS5.5, CS4, CS3); ils s’ajoutent aux excellents didacticiels d’autres membres de la communauté.

De nombreuses sections de l’aide Premiere Pro renvoient à d’autres didacticiels vidéo en contexte pour fournir des informations sur certaines fonctionnalités spécifiques. Si vous avez un bon tutoriel vidéo ou d’autres ressources en français à recommander pour Premiere Pro, partagez-les avec d’autres utilisateurs en écrivant un commentaire en bas de la page concernée sur l’aide en ligne d’Adobe Premiere Pro.

Sur la page de l’Aide communautaire, vous pouvez également rechercher des ressources communautaires qui ne figurent pas sur le site Web d’Adobe.

Adobe e i suoi partner offrono un set di base di esercitazioni video sul sito Web di Adobe, oltre alle ottime esercitazioni fornite da altri membri della comunità di utenti.

In molte sezioni della guida di Premiere Pro potete trovare riferimenti a esercitazioni video rilevanti per specifiche funzioni. Se Lei sa di un esercitazione video eccellente o altra risorsa circa Premiere Pro in italiano, La preghiamo di lasciare un commento in fondo alla pagina relativa di Premiere Pro Aiuto per il Web per dire ad altri di esso.

Dalla pagina Community Help, potete inoltre effettuare ricerche nelle risorse della comunità che non si trovano nel sito Web di Adobe.

Adobe y sus socios ofrecen un conjunto básico de tutoriales en vídeo en del sitio Web de Adobe, además de los excelentes tutoriales ofrecidos por otros miembros de la comunidad.

Muchas secciones de la Ayuda de Premiere Pro se refieren a tutoriales en vídeo adicionales en contexto para proporcionar información sobre funciones específicas. Si sabes de un tutorial en video excelente, o de otros recursos sobre Premiere Pro en Español, por favor deja un comentario al pie de la página relevante de la Ayuda de Premiere Pro en la Web para compartirlo con otros.

Desde la página de Ayuda de la comunidad, también puede buscar recursos de la comunidad que no estén en el sitio Web de Adobe.

To summarize that post, I’ll say this: Rather than using plain ol’ Google search, I recommend the much more efficient Premiere Pro Community Help search. I assure you that the Premiere Pro Community Help search will find virtually everything worthwhile about Premiere Pro that a regular search on Google.com would—and the Community Help search will filter out a tremendous amount of noise/garbage.

The Community Help search is actually a Google custom search engine that we maintain. We enter websites that have been vetted as being of high quality and as providing free resources about Premiere Pro, as well as other Adobe software.

If you find something free on the Web that is useful for Premiere Pro users but doesn’t come up in a Community Help search, tell us, and we’ll evaluate it for inclusion. (One of the ways to tell us about a resource is to add a comment to a relevant page of Premiere Pro Help on the Web, pointing to the resource.)

The Premiere Pro Community Help search is available from the top of every page of Premiere Pro Help on the Web.

You can also do this search from the main Premiere Pro support center page.

There’s also a Premiere Pro Community Help search plug-in for the most common browsers.

Note that you can just search within the Premiere Pro CS5 & CS5.5 Help document, too.

• Search: This reference only (Using Adobe Premiere Pro CS5 & CS5.5)
• Rechercher: Cette référence uniquement (Utilisation d’Adobe Premiere Pro CS5 & CS5.5)
• Suchen: Nur dieser Verweis (Verwenden von Adobe Premiere Pro CS5 & CS5.5)
• Buscar: Sólo esta referencia (Uso de Adobe Premiere Pro CS5 & CS5.5)
• Ricerca: Solo questo riferimento (Utilizzo di Adobe Premiere Pro CS5 & CS5.5)
• この参照のみ (Adobe Premiere Pro CS5 & CS5.5 ユーザガイド)
• 검색: 참조 전용 (Adobe Premiere Pro CS5 & CS5.5 사용)

If you have any problems with searching Premiere Pro CS5 & CS5.5 Help, let us know. That includes telling us if you searched for something and couldn’t find it, as well as just not knowing what word to search for.

A good place to ask questions and give feedback is the Adobe Premiere Pro user-to-user forum. Of course, if you have feedback about a specific page of Premiere Pro Help, then you can just leave a comment on the relevant page.

My name is Todd Kopriva. Some of you may know me as the guy who’s been helping you to find information about After Effects for the past several years. Now it’s also my job to help you to find information about Premiere Pro.

I’ve been a Premiere Pro user for years, but I’ve not been as deep into the Premiere Pro resources (e.g., tutorials, forums) as I have been for After Effects. So I’m asking for your help. In this post, I’ll point to some things that I’ve built up for After Effects, and then I’ll ask you to help me to find the building blocks with which to do the same for Premiere Pro.

I provide a list of informational resources about After Effects, both on the Adobe website and on other websites: “After Effects community resources (in several languages)”

I’d like to build up a similar list for Premiere Pro.

Please send me email (at kopriva [at] adobe {dot} com) to tell me what websites I should include.

I created this page for After Effects CS4 and updated it for After Effects CS5: Getting started with After Effects (CS4 and CS5). We also created a getting-started portal page: “Learn After Effects CS5: getting started and tutorials”.

We already have an instance of the latter for Premiere Pro CS5: “Learn Adobe Premiere Pro CS5: getting started and tutorials”. What would you like to see changed on this page? Added? Removed?

What about an equivalent to the hand-holding getting-started overview? What would you put in such a post for Premiere Pro?

Please send me email (at kopriva [at] adobe {dot} com) to tell me what you think.

Please, please, please leave comments on the relevant pages of Premiere Pro CS5 Help on the Web.

Is a page unclear? Leave a comment and tell me. Be specific.

Is the information incomplete? Leave a comment and tell me. If you have the information to fill in the gap, please leave it in the comment and help thousands of your fellow users.

Is there a web page that explains something better than a page of Help, provides additional information, or is otherwise useful and relevant to the topic? Leave a comment and tell us. Don’t be shy about promoting your own website. We encourage it.

Do you know about a tutorial, article, or other useful free resource about Premiere Pro? Find the relevant page of Premiere Pro Help, leave a comment, and tell us.

We’ve fine-tuned the After Effects Community Help search so that you can search across high-quality websites for After Effects material.

What about the Premiere Pro Community Help search? Try searching for your favorite resources. Are they included? Do you see results that are bad or just don’t make sense?

Please send me email (at kopriva [at] adobe {dot} com) to tell me what websites I should include or purge from this custom search engine.

I plan to remain an active member of the Premiere Pro user community. I’m on Facebook as Stephen S. Muratore, and on LinkedIn as Stephen Muratore. You can email me personally at my adobe.com email address through Friday, 5/28.