Results tagged “Premiere Pro”
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.
One of the new features in the recently released Premiere Pro CC 2015.1 is the initial support for High Dynamic Range or HDR workflows. You might not be working in HDR just yet, but with the technology being adopted at a breakneck pace, Adobe tools have you covered for when you want to start working in this exciting new area. In this post, Adobe’s own Principal Color Scientist Lars Borg takes us through everything you need to know about HDR.
Bright lights coming to a screen near you
High Dynamic Range (HDR) presentation technology is rapidly evolving in the TV industry. Viewing of HDR will be far more compelling than Stereo 3D, Ultra-High Definition (UHD) 4K high-resolution, or UHD wide color gamut (WCG). By Christmas, several vendors will have HDR-capable TV sets available, most of which will use local dimming technology, enabling peak luminance above 1000 candela per square meter (the SI unit for brightness), while still meeting government-mandated power restrictions. Netflix, Amazon, YouTube are preparing HDR content and HDR streaming. Dolby, Philips, Technicolor, Samsung are offering HDR-to-SDR color conversion technologies. There are many standards to choose from for HDR display transfer functions (such as SMPTE ST 2084), larger display color gamuts (DCI P3 or Rec. 2020), and better media compression (HEVC/H.265). However, unifying broadcast standards defining complete systems (such as Recommendation ITU-R BT.709 that defined our current HDTV system 20 years ago) are still missing. And a massive amount of industry education and re-tooling will be needed to deliver fully on the promise of HDR.
Many cameras are HDR-ready. Thanks to advancements in sensor technology, cameras from ARRI, Blackmagic Design, Canon, Sony, and others now support up to 16 stops of dynamic range in a single frame capture, needing no tricks with multiple exposures. Although several standardized file formats such as TIFF or OpenEXR are HDR-capable, today this content is often captured in proprietary formats such as raw or log. Also missing are low-power, high-speed, high-quality intra-frame codecs. VC-5 (SMPTE ST 2073), of Cineform fame, might be a candidate.
Premiere Pro CC 2015.1 offers expanded support for multi-touch devices and screens like Microsoft’s Surface Pro, along with improved gestural support for Apple’s Force Touch track pads. In this release, we focused on delivering a basic rough-cut workflow using touch. Let’s step through this workflow, starting with the workspace bar at the top of the application screen, which offers an easy way to switch workspaces with the tap of a finger.
In this example, we’re using the Assembly workspace to generate extra room for large thumbnails, so you can work directly with your clips without having to load them one by one into the Source monitor. read more…
How do I apply it?
For information on where and how to apply Optical Flow interpolation with speed changes and time remapping, see this article: https://helpx.adobe.com/premiere-pro/using/duration-speed.html
What are the benefits?
Optical Flow time remapping is an exciting new feature for Premiere Pro CC 2015. It enables users to achieve smooth speed and framerate changes by interpolating missing frames. Here are some best practices and advice about what to expect when using Optical Flow interpolation with your own footage.
Optical Flow interpolation is ideal for modifying the speed of clips containing objects with no motion blur that are moving in front of a mostly static background that contrasts highly with the object in motion.
Today we are thrilled to be releasing the very latest version of Premiere Pro CC, which is accompanied by brand new versions of After Effects, Adobe Media Encoder, and Audition, alongside the introduction of the much-anticipated Android version of our mobile editing application Premiere Clip. Read about this entire release of Adobe’s video and audio applications here, and learn about all the great new versions of the Creative Cloud applications here.
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.
Please note that the 2015.1 version of Premiere Pro will overwrite your 2015.0 installation. Also important to note is that 2015.1 requires a revision to the project format and as such projects saved in 2015.1 are not compatible with prior versions of Premiere Pro CC.
The 2015.1 release of Premiere Pro CC contains all of the amazing new features we previewed at IBC in September, including new ways to edit with powerful touch and gestural support, enhanced support for UltraHD/4K+ workflows, initial support for High Dynamic Range (HDR) technology, amazing new Optical flow time remapping, and the ability to search Adobe Stock directly from the Libraries panel. Adobe Stock now also introduces an extensive catalog of over one million royalty-free video clips, which can be previewed and downloaded directly in Premiere Pro. This release also brings official support for OS X El Capitan.
In addition to the significant number of new and enhanced features, Premiere Pro CC 2015.1 contains extensive bug fixes and performance optimizations, a full list of which is available here.
Alongside the key features described above and in the original blog post, there are multiple other minor improvements, a full list of which appears below.
- Tabbed panel groups can be stacked vertically in a column for Lightroom-style one-click access.
- The Start screen has been redesigned.
- Certain timeline actions such as snapping will provide haptic feedback on supported Mac trackpads.
- Thumbnails in the Project Panel can show the effect of applied Master Clip Effects and Source Settings.
- A keyboard shortcut (Command/Control-backslash) has been added to hide the application title bar.
- New lens distortion removal presets have been added for GoPro HERO4, Vision 3, and Inspire 1 cameras.
- Sound timecode and roll can be displayed in the sequence overlays.
- Multi-Camera angles can be arranged across multiple pages.
- The Video Limiter effect can be included in an export preset to keep video levels safe.
- A new effect, SDR Conform, has been added for tone-mapping HDR content.
- A preference has been added to shift clips that overlap the trim point during ripple trimming.
- Sequence timecode can be shown in the marker panel.
- Grid lines have been added to the Curves in the Lumetri panel.
- Indic languages are supported in the Titler.
- Multiple improvements to Merged Clips have been added.
- The Transform effect has been GPU accelerated.
Overview of What’s New in Adobe Media Encoder CC 2015.1
If you have a Creative Cloud membership, you always have access to the latest version of Adobe Media Encoder. Go to the Creative Cloud site to download applications or to sign up for Creative Cloud.
Expanded UHD Support
Media Encoder will offer Expanded UHD capabilities with the addition of support for XAVC Long GOP, DNxHR, and the new HEVC (H.265) codec, which, at 60% the size of comparable H.264 files, is ideal for delivering pristine 4K content online.
Publish to Facebook
Render and publish content to Facebook in one fell swoop. Easily showcase work, promote projects, or support social media campaigns on a platform where something in the order of 3 billion videos are viewed each day. Along with Facebook support, Destination Publishing also allows you to render and send video to Creative Cloud, Vimeo, and YouTube, giving you a super-fast delivery system for public or password protected video content.
Improved Image Sequence Support
After Effects artists rejoice! You will soon be able to automate rendering for image sequences from After Effects (and other 3D apps) with new Watch Folder support for OpenEXR. Streamline your workflow for frame-based content and offload rendering so that you can continue working in After Effects.
Automatic Loudness Correction
Loudness standards are now critical for the delivery of digital content. All you need to do is check the box in the next release of Media Encoder to apply automatic Loudness correction and deliver content with confidence, knowing that your deliverables meet broadcast standards.
Ensure that you meet changing broadcast content requirements with flexible MXF channelization. Export audio within single or multiple audio tracks.
The IRT compliance in Media Encoder CC ensures that your content conforms to German broadcast standards. IRT (Institut für Rundfunktechnik) publishes the technical guidelines and specifications of Germany’s public broadcasters. There are six MXF Profiles for HD program material as specified by ARD, ZDF, ORF and ARTE. There are presets in Adobe Media Encoder that correspond to each of these profiles.
Under the Effects tab you will now find SDR Conform and Video Limiter effects to give you even more control over the look of your final output’s color.
And there’s more
The next Media Encoder release also included IMX audio options to create PCM encoded audio (instead of AES3) and 16 channel export, new Time Interpolation settings for improved frame-rate conversion, and the app icon in the dock/taskbar will now show the progress of your encodes.
Notable bug fixes
- XAVC Intra preset names have been updated.
- Various improvements to DNxHD
- Improved speed when smart rendering sequences with many cuts
- Official support for OS X El Capitan
- Improvements to MXF OP1a – Match Source (Rewrap) functionality
- Many workflow and stability improvements
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.