PremierePro

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

Vashi Nedomansky edits documentary on PTSD with Adobe Premiere Pro CC

With his latest project, Vashi Nedomansky took a detour from the sci-fi Sharknado thrillers to the real- life struggles of returning service members. Edited in Adobe Premiere Pro CC over 14 months, the feature-length documentary THAT WHICH I LOVE DESTROYS ME from producer/director Ric Roman Waugh culls hundreds of hours of footage from multiple cameras and codecs. The result is a powerful look at PTSD and how two Army Special Operations soldiers struggle to overcome it. The movie will appear on PIVOT TV on Veteran’s Day, November 11, 2014. www.takepart.com/vets

Reposted from Vashi Nedomansky’s blog.

THAT WHICH I LOVE DESTROYS ME

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Directed by Ric Roman Waugh

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Tyler Nelson assists with ambitious edit on “Gone Girl”

Assistant editor helps assemble post-production pipeline including Adobe Creative Cloud

As a child, Tyler Nelson liked to play with Legos. He enjoyed the process of building things, taking them apart, and building something new. Fast forward 20 years and Nelson is still constructing, but now he’s helping to create feature films instead of plastic brick structures. To him, the process isn’t that different—taking a huge amount of content and putting it together in a way that makes sense. He’s worked with David Fincher and Kirk Baxter on a number of projects, including the recently released Gone Girl, where he helped build the post-production pipeline that included Adobe Premiere Pro CC for editing and Adobe After Effects for opticals and visual effects.

Tyler Nelson 1 read more…

Kirk Baxter, ACE, leads edit of “Gone Girl,” latest box office hit for David Fincher

Academy Award®-winning editor uses Adobe Premiere Pro CC to edit hit Hollywood feature

Kirk Baxter was attracted to cinema from a young age by films such as E.T., Raiders of the Lost Ark, and Star Wars. These “popcorn accessible” movies drew him in and fueled his aspirations. He started working for an Australian production company at age 17 and quickly recognized his affinity for editing. But never did he dream that one day he would be involved in the kinds of productions he works on regularly with filmmaker David Fincher.

As a two-time Academy Award® winner, Baxter has teamed with Fincher and his post-production crew on film and television projects, including The Curious Case of Benjamin Button, The Social Network, The Girl with the Dragon Tattoo, and House of Cards. For Fincher’s latest film, Gone Girl, “Team Fincher” took the workflow to a new level using a production pipeline built around Adobe Creative Cloud video applications, with Adobe Premiere Pro CC as the hub.

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A note on Premiere Pro CC 2014.1 project files

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

 

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

 

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

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

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

GG_PPro read more…

Creating lasting video impressions

Leading entertainment production company produces sports venue and stadium entertainment with Adobe Premiere Pro CC

When fans turn their attention to the big screens at sports’ biggest events, there’s a good chance that they’re watching the work of Van Wagner Big Screen Network Productions (VWBSN). Over the past three decades, Big Screen Networks established itself as the world’s leader in video board production for major sporting events, including the Olympic Games and World Cup to the Super Bowl, Rose Bowl, and NCAA Championships. A recent addition to the Van Wagner Sports & Entertainment family, VWBSN continues to deliver award-winning in-stadium content for audiences at events major sporting events around the world.

The production company is now implementing Adobe Creative Cloud to meet the growing demands for sports video content production. Creative Director Cameron Cone, Senior Editor Ryan Kehn, and Senior Editor Alex McMeekin work with teams across the U.S. and around the world to deliver anything that sports events need: from a single animation to full turnkey production.

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Biscardi Creative Media combines experience, storytelling, and heart

Full-service video production firm realizes efficiencies and plans for the future with Adobe Creative Cloud

Walter Biscardi Jr. has worked with nearly every NLE during his long and successful career. He started editing in 1990 at CNN and was one of the network’s first Avid editors. In 1995, he moved to Foxwoods Resort Casino, designed a new production facility around Media 100, and then started his first company back in Atlanta, Georgia in 1998. After working with Final Cut Pro for 11 years, he found his way to Adobe Premiere Pro, an integrated solution that could speed his workflow and evolve with his needs. At Biscardi Creative Media, he now actively works with Adobe Creative Cloud, cutting a new series and planning to launch his own television network with his faithful companion, Molly the Wonder Dog, by his side.

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Walter Biscardi and Kylee Wall

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Molly the Wonder Dog

Adobe: Tell us about some of your best known projects.

Biscardi: I worked on four seasons of Good Eats with Alton Brown doing post-production, editing, animation, and color grading. I’ve also done some long form documentary work. I was co-producer and editor on Foul Water Fiery Serpent, a documentary that aired on PBS about President Carter’s 25-year fight to eradicate guinea worm. Next, I worked on another documentary, Dark Forest Black Fly, which also aired on PBS. Both took four years to cut. Most recently our company has completed four seasons of This American Land, a PBS series about preserving America’s wildlife, waters, and landscape.

Adobe: How has your business evolved?

Biscardi: I’ve gone from working in the bedroom of my house to building a brand new, 6,000 square foot production facility with five edit suites, a 5.1 surround sound mixing theater, a color grading suite, production offices, and 1,400 square feet of studio space. For years we did all post-production work, primarily broadcast episodics, documentaries, and corporate projects. Two or three years ago we started getting serious about full-service, turnkey productions.

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Adobe: What led you to switch to Adobe Premiere Pro?

Biscardi: The launch of Final Cut X drove me back to Avid 6, which I used when I started work on the second season of This American Land. I had never touched Premiere Pro and honestly didn’t think it was useful in a professional workflow. But working with Avid on This American Land was a fiasco and by the third episode into the edit we switched to Premiere Pro and haven’t looked back. Three of the four seasons have been edited with Premiere Pro.

Adobe: What do you think of Adobe Creative Cloud and the integrated video workflow?

Biscardi: There’s nothing on the market that works as cohesively as Adobe Creative Cloud. I also love the subscription concept of Creative Cloud and how Adobe continuously rolls out new features. I’ve used After Effects since it was CoSA. All of the animation for Good Eats was done with After Effects and Photoshop. Three of the animations were well over 2,000 layers; it was so much fun doing those. The integrated video workflow between Premiere Pro and After Effects can’t be beat.

Adobe: Are there features in Premiere Pro that are particularly useful in your work?

Biscardi: The software just works. When you transition from one piece of software to another it isn’t going to work the same. You have to adapt your workflow to the tool. Nothing is perfect, but Premiere Pro is as close to perfect as I’ve seen out there right now. This American Land can have 10 camera formats in the same episode, on the same timeline, and it doesn’t choke, it just plays. It’s great to not have to think about cameras, formats, frame rates, or frame size. We haven’t come across anything we’ve thrown on the timeline it can’t handle.

The multi-cam integration with audio is also simple; as long as you have a good audio reference it’s unbelievable how easy auto sync by waveform works. The pancake timeline, where all raw elements are in the timelines above the master timeline, is easy to use and I recently discovered the new marker window with the marker notes and that is now a big part of our workflow. I love making those types of discoveries.

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Adobe: How has working with Adobe Creative Cloud helped your business?

Biscardi: We’ve cut 300 to 400 projects on Premiere Pro in the past few years and it’s a rock solid tool. We were 12 days behind on This American Land when we switched from Avid to Premiere Pro and we not only caught up but we got ahead. When we cut the first season on Final Cut Pro 7 we had to convert all camera formats to Pro Res and it took 1.2 – 2TB to archive the episodes.

It took three or four episodes cutting in Premiere Pro to trust that it would cut native. We switched to an all native workflow and reduced the backup to 350GB to 500GB, which saved us money on the archive. We were also able to cut the same amount of material in 50% of the time because there was no waiting to transcode. Foul Water Fiery Serpent was all shot on Panasonic P2 and we had 250 hours of footage that we converted to Pro Res before editing, which took a couple of weeks. In Premiere Pro we would have been able to start editing on day one.

Adobe: How did you get started working on Arson Dogs?

Biscardi: Arson Dogs is a new web series for world-renowned dog trainer Victoria Stilwell and her Positively website. The series follows Victoria to southern Maine, where State Farm’s Arson Dog Training Program is conducted to train handlers and working dogs together to sniff out accelerants like gasoline and propane at potential arson sites.

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Victoria and her crew spent five days at the school documenting many hours of raw material on up to five different cameras. We then taught her team how to organize and log the project in Premiere Pro, so when we opened it up it was in bins with notes and we could just get started editing. Our first task was to create a three minute sizzle reel from 3,500 clips in just one week. Without Premiere Pro and the Small Tree Shared Storage, which let us all work with the same media simultaneously, it wouldn’t have happened. I worked collaboratively with our editors R. John Becker and Kylee Wall to meet the deadline.

Since then, we’ve been working on editing the first 8 episodes, and anticipate there will be 6 to 10 more. Kylee has a one sentence overview of each 5- to 10-minute episode and she cuts based on that description. We’re known as storytellers, and Adobe gets all of the technology out of the way so we can just tell a story. The best part is being able to work on the project with my own Molly the Wonder Dog in the edit suite with the team.

Adobe: What’s next for you?

Biscardi: We’re currently seeking investment to launch a new 4k UHD Contemporary Living Network, which will include multiple channels and an all Adobe workflow. We’re looking at producing at least 20 original series in the first season alone, all on lifestyle topics such as food, travel, entertaining, pets, home and garden, and more. It will be our own network, with direct digital delivery.

We recently took delivery of our first Blackmagic 4K Production Camera and Teranex Express. We’ll be shooting the first four episodes of Ice Cream Nation and two episodes of Fork U in 4K UHD using that and the Panasonic GH4 cameras for Contemporary Living Network. Fork U features Simon Majumdar from Food Network’s Cutthroat Kitchen as one of our hosts.

Adobe: Are there any new Adobe Premiere Pro features that you’re looking forward to incorporating into your workflow?

Biscardi: The new Consolidate and Transcode feature in Premiere Pro CC will come into play very heavily as we launch Contemporary Living Network. It will enable us to create archive versions of the master cut of each and every episode in a single format. That will help us easily re-open the project at a later date to make changes to graphics, re-export into a different format, or whatever else the situation warrants without the need to reopen all of the original media.

We’ll certainly keep all the original native media for future re-use, but having the finished episode in a single format is something we’ve been waiting for. It will come into play across the board at Biscardi Creative Media. So thankful to the Adobe team for getting that feature in there!

Watch the Arson Dogs series

Learn more about Adobe Creative Cloud

 

Bugs fixed in Premiere Pro 2014.1 Release

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

 

Import

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

Growing File

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

 

Export

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

 

Playback

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

 

Audio

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

 

Project panel

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

 

Subclip

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

 

Editing/Timeline

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

 

Multicam

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

 

Effects

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

Effects, Masking and Tracking

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

Effects, 3rd Party

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

 

Markers

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

 

GPU

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

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

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

 

Interop

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

 

Miscellaneous

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

 

 

Premiere Pro CC 2014.1 Release

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

 

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

 

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

 

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

 

 

 

 

 

 

 

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Ask a Video Pro Webinars

Bring Color Grading to Your Editorial Workflow - presented by Patrick Palmer. This session will introduce new features and the Direct Link integration between Premiere Pro & SpeedGrade CC.
Thursday November 20, 2014 |10am PST Register


Recent Sessions

LOG and RAW Workflow & Adobe Tools presented by Robbie Carman Replay

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

What’s new in Creative Cloud for video - presented by Jason Levine LIVE from IBC Show 2014 Replay

Making the Switch to Adobe Premiere Pro - presented by Colin Smith Replay

From Photography to Videography: Filmmaking Tools in Creative Cloud - presented by Terry White Replay