Results tagged “editing”
Today we are releasing an update to Premiere Pro CC which contains multiple bug fixes, and is recommended for all users. Creative Cloud members and trial users will be able to download and install these applications today using the Creative Cloud desktop application, or online from http://www.adobe.com/creativecloud.html. This update does not require project files to be updated.
Alongside the fixes, which are listed below, a new High Quality Playback option has been added to the playback settings. In previous releases, Premiere’s playback settings only gave users fractional resolution choices, and playback was optimized for real time playback performance. At the default settings, frames typically have a slightly softer look during playback vs. pause, even when both are set to full resolution. Toggling on the new High Quality setting can provide a smoother viewing experience, where playback better matches the image quality of frames when paused. High Quality playback may result in dropped frames depending on the media and hardware configuration, and most users will find the default settings are still the best choice for real time playback.
Fixes in Premiere Pro CC 2015.2 address the following issues:
- Adobe Stock and CC Libraries could not be used by users who connect to the internet using proxy servers.
- Premiere Pro could not launch on Windows systems with AMD Phenom 2 processors.
- Users of Wacom tablets could experience interface lag.
- Multiple fixes with Adobe Stock support.
- Dissolves displayed incorrectly on OS X El Capitan when working in CUDA mode.
- Crashing issues when Warp Stabilizer re-analyzes.
- DNxHD MXF import sometimes failed.
- Titles could not be imported via the Import dialog on Mac.
- Playback could stop when audio input was set to digital on Mac.
- Synchronizing by audio waveform could give inaccurate results.
- Double clicking a clip or sequence when the Project panel is in icon mode did not open the item.
- Soft Subclips could appear with black thumbnails in the Project panel.
- Rendered files sometimes did not maintain sequence start time.
- A crash occurred with importing .wav files from Fostex DC-R 302 recorders.
- Moving the info panel could cause a crash.
- AVCi100 OP-Atom MXF files from Avid displayed incorrectly.
- Audio drop-outs occurred on export.
- The final frame of a nested sequence displayed incorrectly when using optical flow with GPU enabled.
- Merged Clips could become corrupted when round-tripping via FCP XML.
- PSD files caused Premiere Pro to stop responding when closing a project.
- Live Text Templates with more then one parameter often lost render previews.
- Sync Settings did not respect system proxy settings on Windows machines.
- Specular highlights corrupted when exporting to non-PQ J2K files in HDR workflows.
- Merged Clips dropped into a sequence were unlinked.
- Premiere Pro project names incorrectly permitted the back and forward slash characters.
- Render files did not travel with transition and analysis data.
- Text layers in Live Text Templates displayed with jaggy edges.
- XML files exported from FCP 7 could show as corrupt sequences.
- Incorrect fonts were displayed when importing an XML from Annotation Edit software
- Reverse playback could occasionally not work.
- Panasonic 50i/60i .mp4 and .mov displayed incorrectly.
- Premiere Pro crashed if the preferences folder was set to be read only on Mac
- Exporting to QuickTime with MPEG-4 Enhanced Low Delay Audio could result in an Error Compiling Movie dialog.
- GPU playback and rendering failed with sequences containing the Track Matte effect.
- The About dialog showed an incorrect version number.
- Crashing could occur with AJA 12-bit HDR output in software mode.
- IMX 30 full-frame anamorphic exports were incorrectly exported as 4:3.
- Several situations where crashes could occur have been resolved.
“Snapped: She Made Me Do It” reality crime series cut exclusively with Adobe Premiere Pro CC
Joke Productions, founded by the husband and wife team of Biagio Messina and Joke Fincioen, creates and executive produces unscripted TV shows, documentary series, and reality television for major networks. Like many people in this industry, they started working in a one bedroom apartment. Today, they operate a 7,000 square foot studio located in Hollywood, California near Universal Studios.
After working with Final Cut Pro 7 for years, the company switched to Adobe Premiere Pro CC to edit its new Oxygen series, Snapped: She Made Me Do It. Joke Productions workflow is now 100% Adobe Creative Cloud and the team has declared Premiere Pro CC “reality ready.”
An interview with the creators of Pop Up Archive, a cutting-edge solution that makes sound searchable
In 2012, Pop Up Archive co-founders Anne Wootton and Bailey Smith set out to push media forward. As journalists they’d seen firsthand the challenges facing audio producers. While pursuing their Masters degrees at the UC Berkeley School of Information with a focus on uniting technology and media, they identified the need to search, organize, and archive audio. We sat down with Anne Wootton and software engineer Shindo Strzelczyk, to learn how the team developed an award-winning solution for this industry need.
Short film edited with Adobe Premiere Clip and Adobe Premiere Pro CC workflow
Rise and Shine Films describes the video content it produces as “lovingly handcrafted videography.” In addition to client projects such as commercials and corporate videos, the small team also enjoys working on its own projects and trying out new video solutions. Recently, they created the short film Balloon for the Ikan Fly Smartphone Film Contest. The sweet film about a little girl who dreams of flying won the grand prize in the competition, and was also the Best Cameraphone winner in the My RODE Reel 2015 international short film competition.
Documentary director and editor reveals magical world in his latest film, Iceland: Land of Ice and Fire, created with Adobe Creative Cloud
Documentary Film Editor and Director Andrew Chastney’s passion for natural history is clear in the work he’s done for the BBC, Disney Nature, Animal Planet, and National Geographic. Most recently, he explored the magical secrets of Iceland for the BBC documentary, Iceland: Land of Ice and Fire, which tells the story of the animals, people, and land that make up this wild island. Andy used Adobe Creative Cloud to help create the ambitious documentary, which aired on the BBC in May 2015.
When I first heard of Adobe Video World, I thought “What is this place and how do I get there?” I envisioned a planet, not unlike Coruscant from Star Wars, where Adobe Jedis convene and discuss disturbances in the force. Come to learn this year’s Adobe Video World conference is the first of its kind, combining the successes of past Premiere Pro World and After Effects World Conferences into one 6-day Adobe galaxy… far far away in San Jose. [Star Wars theme plays.]
Live sports broadcast editing and effects specialist delivers the full package for top sporting events with Adobe Creative Cloud
Covering live sports broadcasts requires speed, cost-efficiency, and flexibility—and that’s where Will Newell excels. For 10 years, he’s done graphics, editing, live outdoor interviews, and broadcast delivery preparation for events including the U.S. Open and Formula 1 racing. Although he’s used Avid Media Composer and Final Cut Pro, his freelance business now relies on a Mac and Adobe Creative Cloud, including Adobe Premiere Pro CC. Here, Newell shares his experiences and talks about why Adobe Creative Cloud is an affordable, powerful option for a freelancer.
Adobe: How did you get your start?
Newell: I worked at an editing facility in Manchester, England in the machine room, as a runner, and then as an assistant editor. I moved to London a few years later and began freelancing. Sky Sports contacted me to do features, openers, closers, and so on. I hit the ground running working regularly on content for football, rugby, cricket, tennis, golf, and even darts matches. I went to Australia in 2012 for the first Sky Sports F1 race and have been doing primarily outdoor broadcasts ever since.
Skilled director and editor brings multifaceted talent to BBC’s “The Voice UK” with help from Adobe Creative Cloud
Scott Peters is a self-‐proclaimed “everything” man. He can direct, produce, edit, shoot, and produce graphics on both large and small budgets. Freelancing offers him the variety that he enjoys and has helped him build an impressive resume. His most recent gig was working as a Digital Director and Producer on the BBC’s The Voice UK, where his team produced all digital content for the wildly popular show using Adobe Creative Cloud.
Adobe: How did you get your start?
Peters: I learned everything I know on the job. I started filming when I was about 12, doing skateboard videos and emulating Jackass videos. At 16, I started getting work experience running on commercials and TV shows.
We are thrilled to announce that Premiere Clip 2.0 is now available for download in the App Store. The new release of Premiere Clip includes a number of enhancements to make video editing on the move easier, faster and more fun. Check out all that’s new in the latest release!
New and improved features in Premiere Clip 2.0
- Automatic video creation
- Sync to Music
- Lightroom on Mobile integration
- Improved editing and a new streamlined user interface
Automatic video creation
When creating a new project, you will now have the option for automatic video creation. Select your photos and videos and Premiere Clip will automatically create a video synced to music. You can pick your own soundtrack, choose a different soundtrack start point, adjust the pace of transitions, or re-arrange media, so that in minutes, you have something to share.
Concert film editor captures emotion of live performances with Adobe Premiere Pro CC
Simon Bryant’s love of music comes through loud and clear with his editing of concert and studio footage for films and DVDs. His work covers a range of genres and he’s been lucky to work with many well-known artists including The Rolling Stones, Ed Sheeran, Coldplay, and One Direction. Bryant is constantly examining what makes a project successful, both from an editing and a film point of view. One key factor that contributes to his success is working with Adobe Premiere Pro CC.
Simon Bryant will be presenting the session “Leading the Eye: Multi-Camera Editing for Some of the World’s Biggest Bands” in the Adobe stand 7.G27 at IBC 2015 on Sunday, Sept. 13th at 1:30 pm and 5:00 pm.
Adobe: How did you get into this career?