Results tagged “post production”
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.
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?
Creators of innovative display solutions power fan engagement at leading sports venues with help from Adobe Creative Cloud and Adobe Anywhere
Geraint Williams will be presenting the session Next Generation Global Sports Broadcast with Adobe Anywhere” in the Adobe stand 7.G27 at IBC 2015 on Friday, Sept. 11th at 3:30 pm and Saturday, Sept. 12th at 12:30 pm and 4:00 pm.
Since Geraint Williams founded ADI nearly twenty five years ago, the company has grown to become a global pioneer in the creation, management, and distribution of video content and the technology that supports it. The company supports huge events and installations throughout retail and large sports venues, delivering both the infrastructure and the content to entertain and excite audiences. Today, ADI uses a video workflow that includes Adobe Anywhere and Adobe Creative Cloud to connect teams, venues, and partners with their target audiences.
Adobe: Tell us about the importance of content in your business.
Self-taught editor and master educator transitions editors from Avid Media Composer to Adobe Premiere Pro CC
Stefan Weiss will be presenting the session “Streamlining Workflows by Switching from Avid to Adobe Premiere Pro CC” in the Adobe stand 7.G27 at IBC 2015 on Friday, Sept. 11th at 1:30 pm and 5:00 pm and Saturday, Sept. 12th at 2:00 pm.
When it comes to non-linear editing (NLE), Stefan Weiss is fearless. He’s worked in both film and broadcast television, and today enjoys editing documentaries on a variety of topics, from airplanes to reincarnation. Weiss balances his editing career with work as a trainer, focusing primarily on teaching others how to successfully switch from Avid Media Composer to Adobe Premiere Pro CC. Weiss is a member of the German Editors Guild (Bundesverband Filmschnitt Editor e.V.) and an Adobe Certified Instructor for Premiere Pro and Adobe Photoshop CC.
Adobe: How did you get your start?
Global VFX studio produces extraordinary motion graphics and visual effects with Adobe Creative Cloud
Will MacNeil will be presenting the session “Creating Stunning Motion Design Experiences with Creative Cloud and Cinema 4D” in the Adobe stand 7.G27 at IBC 2015 on Monday, Sept. 14th at 5:00 pm and Tuesday, Sept. 15th at 2:30 pm and in the MAXON stand 7.K30 on Monday, Sept. 14th at 3:00 pm and Tuesday, Sept. 15th at 11:00 am.
This blog was originally posted on September 5, 2014.
MPC is one of the world’s leading visual effects and motion graphics studios, with more than 2,000 employees in eight global offices. The studio’s work includes blockbuster films such as Godzilla, the Harry Potter franchise, and Life of Pi, and advertising campaigns for global brands including Samsung, Ikea, and Visa. MPC works with agencies, production companies, directors, and does some direct-to-brand engagements as well. Senior Motion Graphics Designer Will MacNeil, Marketing Manager Zoe Kent, and Creative Director Dave Haupt explain the role of Adobe Creative Cloud in bringing their visions to life.
Adobe: What is important for us to know about MPC?
Freeskiing and snowboarding tour delivers stunning video straight from the mountainsides of Alaska using Adobe Creative Cloud and Premiere Pro CC
Forget the artificial jumps and groomed slopes of typical skiing and snowboarding venues. Freeriding takes these winter sports back to their roots by challenging athletes to master an all-natural mountain ridge. Competitors start at the summit and must make their way to the finish line, but each athlete must decide on their own route down the mountain. The result is an exciting and unique run every time.
The Swatch Freeride World Tour (FWT) pits top freeskiers and snowboarders from around the world against some of the most beautiful, untouched peaks across Europe and North America. For the 2015 world tour, FWT took its riders somewhere completely new: the mountains near Haines, Alaska. A small town in the Alaska panhandle, Haines boasts undeveloped mountain ranges and Pacific weather conditions that make it an ideal venue for freeriding.
David Arnaud will be presenting the session “Delivering Event Coverage from Remote Destinations with Creative Cloud” in the Adobe stand 7.G27 at IBC 2015 on Monday, Sept. 14th at 12:30 pm and 2:30 pm and Tuesday, Sept. 15th at 11:00 am.
Taking up the Alaskan challenge
FWT produces up to 45 hours of raw footage for each stop in the tour, with deliverables ranging from short web clips to hour-long TV digests. Highlights must be released just hours later, giving editors little time to comb through footage and start producing videos. As a result, FWT sets up a video production tent right on the side of the mountain and using a combination of Adobe Prelude CC for logging and ingest and Premiere Pro CC for editing they are able to turn edits around quickly.