February 3, 2012

Confessions of a Switcher: Moving to Adobe Premiere Pro and using an HP Workstation

Recently, Christine Steele presented an hour-long online seminar about switching to Adobe Premiere Pro, in which she focused on the hardware requirements for video editing.

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:

4:59 PM Comments (0) Permalink
December 8, 2011

Jon Carr on using Production Premium CS5.5 on Vincent LaForet’s Möbius

On December 8 writer, producer and vfx artist Jon Carr presented how his team leveraged the capabilities of Adobe Creative Suite 5.5 Production Premium to help complete the short film Möbius edited by Vashi Nedomansky and directed by Vincent LaForet.

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

  • Jon showed us how he exported a frame from After Effects and used the Clone Stamp Tool to quickly paint out graffiti on the rocks behind the actor.
  • The saved frame was then brought back into After Effects where he used the cleaned up rock to cover over the painted section.

Adobe Media Encoder

 

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

3:13 PM Comments (3) Permalink
December 1, 2011

video training providers for Adobe Premiere Pro

We like to point people to free video tutorials as much as possible, such as in this set of resources for beginners; but we often get asked where people can get more complete, in-depth training materials. Of course, many of these in-depth materials are not free, since creating a lengthy, deep set of video training materials is the sort of work that people tend to want to get paid for. This article is a brief summary of the best providers of paid video training that I know of. In all cases, you can find free sample videos on the websites of these providers, which they’ve generously provided as a way for you to try out their materials before you buy anything.

  • 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 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.)

11:56 AM Comments (1) Permalink
November 11, 2011

Richard Harrington seminar on mastering Adobe Premiere Pro Timeline panel

Last week, Richard Harrington presented a seminar on mastering the Timeline panel and related features in Adobe Premiere Pro.

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

getting started and configuring the user interface

basic editing

audio

miscellaneous questions and answers

7:02 PM Comments (0) Permalink
November 1, 2011

Adobe Premiere Pro CS5.5 (5.5.2) update: Maximus functionality and bug fixes

Today, the Adobe Premiere Pro CS5.5 (5.5.2) update was released.

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.


bug fixes

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.

added ability for Premiere Pro to take advantage of Nvidia Maximus configuration for CUDA processing

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”.


other software updates known to address problems with 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.


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.)
  • 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.
2:46 PM Comments (10) Permalink
October 24, 2011

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

Last week, Robbie Carman presented a seminar on color grading and color correction in Adobe Premiere Pro and After Effects.

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

scopes and monitoring video

basic color correction effects, correcting for exposure and color cast

correcting skin color

grading sky colors, cleverly using the Titler to create mattes

vignettes in After Effects, and introduction to Color Finesse

miscellaneous questions and answers

2:46 PM Comments (0) Permalink
October 11, 2011

Adobe Reel Challenge

Adobe is inviting you to participate in the Adobe Reel Challenge.

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.

4:29 AM Comments (0) Permalink
September 22, 2011

Adobe Media Encoder CS5.5 (5.5.1) update: bug fixes

Today, the Adobe Media Encoder CS5.5 (5.5.1) update was released.

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.)


bugs fixed in this update

  • 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.
7:11 AM Comments (0) Permalink
September 12, 2011

Adobe Premiere Pro CS5.5 (5.5.1) update: bug fixes, including some for Mac OSX v10.7 (Lion) compatibility

Today, the Adobe Premiere Pro CS5.5 (5.5.1) update was released.

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.


bug fixes

There are a lot of bug fixes in this 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

other software updates known to address problems with Premiere Pro

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.


known issues

  • 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.)
2:24 PM Comments (24) Permalink
September 8, 2011

What the Adobe acquisition of IRIDAS technology means for our professional video applications

As you may already have seen in the official press release, Adobe has just acquired technology from IRIDAS, the makers of the SpeedGrade line of color applications, as well as several other tools for the professional film and video market.

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.

6:59 AM Comments (55) Permalink
August 28, 2011

free sample chapters and videos from An Editor’s Guide to Adobe Premiere Pro

Peachpit Press recently released An Editor’s Guide to Adobe Premiere Pro, by Robbie Carman, Jeff Greenberg, and Richard Harrington.

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 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:

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

6:33 PM Comments (0) Permalink
August 22, 2011

Adobe Premiere Pro, Nvidia CUDA drivers, and Mac OSX v10.7 (Lion)

If you are using the version 4.0.31 CUDA driver from Nvidia on Mac OSX v10.7, you may notice that the Mercury Playback Engine GPU Acceleration setting is unavailable. This version of the driver disables the CUDA processing features of Premiere Pro if the operating system is running the 32-bit kernel; the reason for this is that there is a conflict between the driver and the Mac OSX v10.7 operating system. For drivers earlier than 4.0.31, a crash happens when a 64-bit application runs on the 32-bit OS kernel. With the updated 4.0.31 driver, Premiere Pro will continue to run, but the Mercury Playback Engine GPU Acceleration settings will be disabled.

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

1:44 PM Comments (1) Permalink
August 14, 2011

Easing the transition to Adobe Premiere Pro: Ask a CS Pro session with Al Mooney

Last week, Al Mooney presented a seminar on easing the transition to Adobe Premiere Pro from another NLE, such as Final Cut Pro.

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

question-and-answer session

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.

3:29 PM Comments (2) Permalink
August 8, 2011

Carey Dissmore shows how to edit a demo reel using Adobe Premiere Pro

Last week, Carey Dissmore presented a seminar on how to edit a demo reel in Adobe Premiere Pro.

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

basic editing

interchange with After Effects

interchange with Final Cut Pro 7 and exporting

miscellaneous questions and answers

8:43 PM Comments (1) Permalink
July 18, 2011

FAQ list for Adobe Premiere Pro

We’ve recently added several entries to the Premiere Pro FAQ list.

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.

We have an After Effects FAQ list, too.

1:40 PM Comments (0) Permalink
July 17, 2011

Color correction and color grading tutorials

Andrew Devis, Karl Soule, Robbie Carman, Jarle Leirpoll, and Jeff Sengstack have all been creating excellent video tutorials about color correction and color grading recently, so I thought that it would be useful to gather links to them together in one place for convenience.

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:

Robbie Carman’s color correction and color grading webinar

Karl Soule’s color correction and color grading tutorials

Andrew Devis’s color correction and color grading tutorials

Jeff Sengstack’s color correction and color grading tutorials

Jarle Leirpoll’s color correction and color grading tutorial

9:38 AM Comments (5) Permalink
June 30, 2011

updates for Adobe Premiere Pro, After Effects, and Adobe Media Encoder CS5 & CS5.5

This is a good time to install updates for CS5 and CS5.5 Production Premium applications, since a lot of significant updates have recently been released:

Oh, and don’t forget the After Effects CS4 (9.0.3) update.

We have also been working with several providers of plug-ins, codecs, and hardware devices (such as Cineform, AJA, Matrox, 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.

To check for updates, just choose Help > Updates in any application in the suite. (Important: This won’t install the After Effects CS5.5 10.5.1 update.)

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

10:33 AM Comments (2) Permalink
June 28, 2011

Quadro 4000 driver and CUDA driver update for Mac OSX

We have seen many reports that a conflict between the drivers for some Nvidia cards and the Mac OSX v10.6.8 (Snow Leopard) and v10.7 (Lion) updates caused problems with various software, including Adobe Premiere Pro.

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”

8:19 AM Comments (2) Permalink
June 27, 2011

Adobe Premiere Pro CS5 (5.0.4) update: fix for crash on Mac computers with ATI cards

Today, the Adobe Premiere Pro CS5 (5.0.4) update was released.

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.

9:57 AM Comments (3) Permalink
June 26, 2011

Adobe Premiere Pro CS5.5 improvements in Final Cut Pro XML interchange

We made a lot of improvements in Adobe Premiere Pro CS5.5 in the import and export of Final Cut Pro XML project files. Some of these improvements are new features, whereas some are bug fixes—and some can be either depending on how you look at them.

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”

5:24 PM Comments (2) Permalink
June 22, 2011

Issue with Adobe Encore CS5.1 and Matrox MAX H.264 encoding on Windows

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.

We’re presently investigating this issue to find a solution. In the meantime, 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.
1:15 PM Comments (0) Permalink
June 12, 2011

Final Cut Pro 7 keyboard shortcuts for Adobe Premiere Pro CS5 for Windows

Here is a link to the file that contains the Final Cut Pro 7 keyboard shortcut set for Adobe Premiere Pro CS5 for Windows.

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”

5:10 PM Comments (0) Permalink
May 31, 2011

obscuring a face with the Track Matte Key effect

Colin Smith provides a video tutorial on Adobe TV that shows how to obscure a face using the Mosaic effect and the Track Matte Key effect in Adobe Premiere Pro.

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.

1:43 PM Comments (0) Permalink
May 19, 2011

Video2Brain video series about Premiere Pro CS5.5 new and changed features

I recently recorded a set of video tutorials about all (yes, all) of the new and changed features in Adobe Premiere Pro CS5.5.

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.

8:47 PM Comments (0) Permalink

RED (R3D) digital cinema and Canon XF improvements in Adobe Premiere Pro CS5.5

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
10:32 AM Comments (0) Permalink

editing efficiencies and user interface improvements in Adobe Premiere Pro CS5.5

Adobe Premiere Pro CS5.5 includes many small changes to the user interface and terminology that make common editing features easier to use and find.

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.

10:04 AM Comments (0) Permalink

improved keyboard shortcut customization in Adobe Premiere Pro CS5.5

Adobe Premiere Pro CS5.5 includes several welcome changes regarding keyboard shortcuts.

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

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

7:16 AM Comments (0) Permalink
May 11, 2011

You do not need new versions of plug-ins for Adobe Premiere Pro CS5.5

I’ve seen a significant amount of confusion about this, so I thought that it would be good to make this explicit statement:

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:

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.

6:14 AM Comments (4) Permalink
May 5, 2011

problems with Nvidia drivers 270.61 and 270.71


UPDATE: The version 270.73 driver is available now.


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.

4:09 AM Comments (6) Permalink
April 16, 2011

merged clips and dual-system sound in Adobe Premiere Pro CS5.5

When you record audio from a device other than your camera, you often want to be able to synchronize the externally recorded audio with the video and manipulate this audio together with the video as if it were a single asset. With the Merge Clips command in Adobe Premiere Pro CS5.5, you can do exactly that. You can use markers, In points, Out points, or timecode of clips from separate devices to synchronize them as part of the merge process or before merging.

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.

10:00 PM Comments (2) Permalink

Adobe Premiere Pro CS5.5 integration with Audition CS5.5

Adobe Creative Suite 5.5 Master Collection and Production Premium editions include Adobe Audition CS5.5, which is a much more powerful audio editing application than was Adobe Soundbooth, included in previous versions.

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.

8:25 AM Comments (0) Permalink
April 15, 2011

closed captions in Adobe Premiere Pro CS5.5

Adobe Premiere Pro CS5.5 adds the ability to attach a closed captioning data file to a sequence and preview the closed captions in the Program Monitor panel or on an external video monitor.

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.

11:48 AM Comments (7) Permalink
April 14, 2011

improved trial version for Adobe Premiere Pro CS5.5

The free, 30-day trial version of Adobe Premiere Pro CS5.5 is available. Download it now.

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 CS5.5 includes all of the codecs that are included with the full version of Adobe Premiere Pro CS5.5. 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:

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

4:57 PM Comments (6) Permalink
April 13, 2011

unified audio effects in Adobe Premiere Pro CS5.5

(For a video demonstrating these changes, see this page on the Video2Brain website.)

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.

10:52 AM Comments (0) Permalink
April 12, 2011

Adobe Premiere Pro CS5.5 improvements in CUDA processing and the Mercury Playback Engine

Before you read this post about what’s new and changed regarding CUDA processing in Adobe Premiere Pro CS5.5, I recommend that you read this post about what CUDA is and what the Mercury Playback Engine is for Adobe Premiere Pro CS5.

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.

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.)

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.

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

11:15 AM Comments (15) Permalink

Adobe Premiere Pro CS5.5 integration with Adobe Story

Adobe Story is an application for writing scripts (as in screenplays, not as in computer programming) that integrates with applications in Creative Suite. In Creative Suite 5, you had to use OnLocation as an intermediary to get script information from Adobe Story to Adobe Premiere Pro. Now, with Adobe Premiere Pro CS5.5, you can go straight from Adobe Story into Adobe Premiere Pro.

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.

10:16 AM Comments (0) Permalink
April 10, 2011

Adobe Media Encoder CS5.5: What’s new and changed

Adobe Media Encoder CS5.5 is available. Adobe Media Encoder CS5.5 is included with such applications as After Effects CS5.5 and Adobe Premiere Pro CS5.5, which you can order now.

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.


top new features and changes in Adobe Media Encoder CS5.5, with links to more information


Listing every change to the Adobe Media Encoder user interface here would be a daunting task, since so much work went into cleaning up, rearranging, and otherwise improving the interface for Adobe Media Encoder CS5.5. So, here are the top new features and changes, as well as a few that have made my life easier already.

  • 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.)

8:04 PM Comments (1) Permalink

Adobe Premiere Pro CS5.5: What’s new and changed

Adobe Premiere Pro CS5.5 is available, and you can get it now. You can also download a fully functional free 30-day trial version.

Here’s a link to the main Adobe Premiere Pro page and its whiz-bang summary of what’s new.

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. 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.


top new features in Adobe Premiere Pro CS5.5, with links to more information


  • 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

other new and changed features in Adobe Premiere Pro CS5.5, with links to more information


I haven’t (yet) listed every single tweak to the user interface, but this should be a virtually comprehensive list of changes beyond the top few listed above.

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

effects and compositing

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).
8:04 PM Comments (27) Permalink
March 22, 2011

Adobe Creative Suite 5 Production Premium tips and tricks

We have recently published (with the help of Richard Harrington) a new collection of Adobe Creative Suite 5 Production Premium tips and tricks. This document was created to support DSLR workflows with Creative Suite Production Premium, but there are tips in here that are of use to just about everyone.

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.

10:31 PM Comments (3) Permalink
March 20, 2011

free chapters from Karen Pearlman’s Cutting Rhythms

I was listening to an interview with Karen Pearlman on the Art of the Guillotine podcast, and Gordon (the host) mentioned that there were a couple of sample chapters from Karen’s book Cutting Rhythms: Shaping the Film Edit on the site. Based on what I was hearing in the interview, I knew that I definitely wanted to read those chapters. I’m glad that I did.

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.

6:53 AM Comments (0) Permalink
March 11, 2011

Learning Adobe Premiere Pro CS5 by Phil Hawkins

Infinite Skills has provided some free sample videos from the Learning Adobe Premiere Pro CS5 training series by Phil Hawkins.

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:

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.

8:08 PM Comments (0) Permalink
March 9, 2011

How to communicate with the Adobe Story team (bug reports, feature requests, questions, and so on)

We’ve been seeing a few questions and requests about Adobe Story lately, and I thought that it would be a good idea to let everyone know the best ways to communicate with the Adobe Story team.

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.

6:48 AM Comments (0) Permalink
February 26, 2011

The Best of Premiere Pro: video training by Eran Stern

Eran Stern’s new video training collection, The Best of Premiere Pro, is a very good video training series for someone who has already learned the basics of Adobe Premiere Pro and wants to learn some practical tips, shortcuts, workflows, and advanced techniques.

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.

10:32 PM Comments (2) Permalink
February 23, 2011

CUDA, Mercury Playback Engine, and Adobe Premiere Pro

[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.


What is the Mercury Playback Engine, and what is CUDA?


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

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.

Confusingly—because of one of our own early videos that was unclear—a lot of people think that Mercury just refers to CUDA 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).


What is required for Premiere Pro to use CUDA processing?


The official and up-to-date list of the cards that provide the CUDA processing features is here:
Adobe Premiere Pro CS5.5 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.

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

On Mac OS, CUDA processing features of Premiere Pro CS5 require Mac OSX v10.6.3 or later.

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


What does Premiere Pro accelerate with CUDA?


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

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

A common misconception is that CUDA processing is only used for rendering for previews. That is not true. CUDA 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 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 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 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 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: “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. 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.


Why are only some video cards supported?


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 processing, then let us know with a feature request.


What about OpenCL?


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.

Regarding plans for future versions: Sorry, but we can’t comment on what may or may not be done in future versions. That said, we rely heavily on feature requests to determine how many people want a specific feature. If you’d like to see us use OpenCL for processing, please submit a feature request.


What about OpenGL?


OpenGL is a different technology that is implemented through GPUs. It is not exclusive of CUDA; it’s a different thing altogether, and a card that uses CUDA 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.


What about Mercury in After Effects?


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. But After Effects doesn’t use CUDA (though a few third-party plug-ins do).


How can I make Premiere Pro faster?


This page is a good place to start.


What effects are CUDA-accelerated in Premiere Pro?


To show in the Effects panel only effects that can be accelerated by CUDA, 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
5:51 PM Comments (15) Permalink
February 20, 2011

Red, yellow, and green render bars and what they mean

[Thanks to Steve Hoeg, who helped with some of the details of this post.]

(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?


a digression into rendering…


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.


OK, so now about those colored render bars…


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 causes a segment to get render bars of a certain color


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.


how the render bars relate to playback commands


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.

a simple example


software-only
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.

GPU
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.

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

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

12:54 PM Comments (6) Permalink
February 3, 2011

Getting Started with Adobe Premiere Pro from Video2Brain

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:

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”.

11:55 PM Comments (1) Permalink
January 31, 2011

optimizing for performance: Adobe Premiere Pro and After Effects (webinar recording & links)

A few days ago, we hosted a one-hour session about optimizing for performance of both Adobe Premiere Pro and After Effects. In case you missed it, here’s the recording.

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.

7:25 PM Comments (1) Permalink
January 2, 2011

Dynamic Link in CS5: no longer a one-way street

One of the new features in the CS5 versions of Adobe Premiere Pro and After Effects is really more of a bug fix, and so it seems to have escaped notice. Let me fix that.

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.

11:07 AM Comments (2) Permalink
December 7, 2010

Adobe Premiere Pro CS5 (5.0.3) update: performance improvements, bug fixes, and Quadro 5000M and 4000 CUDA support

Today, the Adobe Premiere Pro CS5 (5.0.3) update was released.

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.


new and changed features

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

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.


bug fixes

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.

other software updates known to address problems with Premiere Pro

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.


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.)
10:21 AM Comments (17) Permalink
December 3, 2010

Download speech analysis libraries for Premiere Pro

Premiere Pro provides the ability to analyze speech in a clip or file and convert the spoken words into text, which is stored as XMP metadata.

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”

7:46 PM Comments (4) Permalink
October 25, 2010

some details about scaling in Premiere Pro CS5 and CS5.5

[Thanks to Steve Hoeg for doing the hard parts of this post.]

A lot of people are talking about CUDA and the GPU in the context of Premiere Pro CS5 and CS5.5. But the talk is almost always about speed, speed, and more speed. Yeah, using CUDA on the GPU to process a lot of effects 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:

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:

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.

Oh, and don’t forget to install the Premiere Pro CS5 (5.0.3) update. That update fixes a lot of problems.

7:23 AM Comments (6) Permalink
October 20, 2010

new and changed features in Adobe Media Encoder CS5

In a recent forum thread, someone said that they hadn’t seen much about what’s new and changed in Adobe Media Encoder (AME) CS5. So, let’s fix that.

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.


BTW, you should also install the Adobe Media Encoder CS5 (5.0.1) update. Instructions for doing so are on this page.


8:10 AM Comments (1) Permalink
October 17, 2010

Premiere Pro team on Twitter and Facebook (and blogs and forums, of course)

The Premiere Pro team is using Twitter and Facebook to give and receive information about Premiere Pro.

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 Mooey) 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.

4:49 PM Comments (1) Permalink
October 10, 2010

shooting and editing HD video from DSLR cameras with Premiere Pro CS5

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 CS5 and other applications in Creative Suite 5 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 CS5 in general.

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 CS5 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

part 2: basic editing

part 3: animation and markers

part 4: integration with Photoshop and working with text

part 5: exporting

September 12, 2010

Final Cut Pro XML export improvements in Premiere Pro CS5 (5.0.2) update

If you haven’t already installed the Premiere Pro CS5 (5.0.2) update, then you should do so. That updates fixes a lot of problems and adds a lot of new capabilities.

In the post providing details of the Premiere Pro CS5 (5.0.2) update, one item says ‘various fixes for Final Cut Pro XML export’. A few people have asked what those fixes are, exactly. So, here they are.

  • Premiere Pro no longer appends file://localhost to network path names on Windows.
  • <name> attributes are now exported for <clipitem> elements.
  • Any special characters in the <reel> attribute are now encoded as XML instead of passing through untranslated.
  • The duration and rate of master clips are now set accurately instead of using dummy default values. This typically only matters for media that’s offline when the XML is imported, since the contents of an online media file overrule these in both FCP and Premiere Pro.
  • Markers and subclip offsets should now be written using the correct framerate instead of always being set to 29.97fps.
  • The <audio> element now has a new complex subelement <outputs>. <outputs> objects are exported for audio track groups. This subelement is used primarily for round-tripping 5.1 channel audio through Premiere Pro.
  • <audiolevels> objects are now written to tracks that have had audio level adjustments in Premiere Pro.
  • Each audio <track> element now has a new <hardpan> attribute (Premiere Pro proprietary) and <outputchannelindex> attribute (FCP standard) to help with multi-channel audio round-tripping.
  • <uuid> attributes are now exported for clips and sequences. These UUIDs (universally unique identifers) can be used for custom workflows. When using the normal FCP import mechanism, Premiere Pro will generate new UUIDs for each clip or sequence it imports through FCP XML, rather than reusing the ones in the XML file.
  • Fixed an FCP import failure on 64-bit Windows when running with top-down memory addressing.

See this page for details of exporting a Premiere Pro project as a Final Cut Pro XML project file.
“Export a Final Cut Pro XML project file”

12:15 PM Comments (2) Permalink
September 9, 2010

Welcome Kevin Monahan, the new Premiere Pro documentation person.

As I mentioned recently, I’m now in Technical Support, providing online, one-to-many assistance for Adobe’s professional video software on forums and blogs and social-media-whatsits.

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.

10:40 PM Comments (1) Permalink

Premiere Pro resources for Final Cut Pro and Avid Media Composer users

These three PDF documents were created to ease the transition to Premiere Pro from Final Cut Pro and Avid Media Composer, but they’re also very good overviews for anyone getting started with Premiere Pro:

Karl Soule has a video on Adobe TV that recommends various resources for learning Premiere Pro if you already know Final Cut Pro. It’s the first video in a series with Karl and Kevin Monahan about making the transition. Additional videos for editors making the transition can be found in the Adobe TV show “Moving to Adobe Premiere Pro”.

Video2Brain provides a video training series, Premiere Pro for Avid Editors, to give Avid users the information needed to make the transition to Premiere Pro.

Rich Harrington, Robbie Carman, and Jeff Greenberg have written an excellent book for professional video editors to get to know Premiere Pro: Editor’s Guide to Adobe Premiere Pro. This book and DVD include detailed chapters and movies about exchanging projects and footage between Premiere Pro and Final Cut Pro and Avid Media Composer:

Much more information about making the transition from Final Cut Pro or Avid Media Composer to Premiere Pro is here:
“Switching to Premiere Pro CS5.5″

Many more getting started resources are here:
“Getting started with Adobe Premiere Pro”

11:55 AM Comments (6) Permalink
September 1, 2010

Premiere Pro CS5 (5.0.2) update: bug fixes and CUDA support


UPDATE: The Premiere Pro CS5 (5.0.3) update is now available and contains all of the fixes in the 5.0.2 update, plus many more.



Today, the Premiere Pro CS5 (5.0.2) update was released.

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.


new and changed features

  • 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.

bug fixes

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.


other software updates known to address problems with Premiere Pro

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.


known issues

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.)

updates for RED (R3D) footage and new REDCODE plug-ins

  • 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.
8:20 PM Comments (27) Permalink
August 9, 2010

Help documents for Creative Suite CS5 & CS5.5 applications (PDF and HTML)

Jan Janowski asked in a thread on the Community Help forum if we could provide all of the PDF versions of the Help documents (manuals, user guides, documentation) for the Creative Suite applications in one place.

Here you go, Jan.

User guides (also known as Help)

Here’s a list of user guides (Help documents), with links to the PDF and HTML versions, plus a link to the main Help & Support home page for each application, which has links to various supplementary documents. These are just the English-language documents. I gave links to some documents in other languages here.

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.

8:15 AM Comments (9) Permalink
August 6, 2010

PPBM5: Premiere Pro Benchmark for CS5 and CS5.5

Bill Gehrke and Harm Millaard have put together a performance test suite for Premiere Pro CS5 and CS5.5, PPBM5.

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”

9:19 AM Comments (0) Permalink
July 28, 2010

Getting started and Help and Support pages in several languages

[See the related post for After Effects.]

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


English


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


Deutsch


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


Français


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.


日本語


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。


Español



Italiano


10:07 AM Comments (1) Permalink
July 20, 2010

maximum dimensions in Adobe Premiere Pro CS5 and CS5.5

[Thanks for today's post go to Steve Hoeg, who did the hard parts.]

There have been quite a few questions lately on various forums about what the maximum image (frame) size is that Premiere Pro CS5 and CS5.5 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.

4:57 PM Comments (8) Permalink
July 14, 2010

exporting video with an alpha channel (transparency)

You can export a file from Premiere Pro that includes an alpha channel (transparency).

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”.


Export an FLV file with an alpha channel

  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.


Export an AVI or QuickTime file with an alpha channel

  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.
8:01 AM Comments (0) Permalink
July 12, 2010

updated Premiere Pro and Adobe Media Encoder Help documents

I just updated the following Help documents:

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.)

10:38 PM Comments (0) Permalink
June 19, 2010

workflow guides for several high-end cameras and formats in Premiere Pro CS5 and After Effects CS5

Adobe has been putting out several white papers, workflow guides, and other materials to give the nitty-gritty details of how to work with several high-end cameras and formats. Many of these resources are collected here.

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:


RED digital cinema (R3D)

“Using Adobe Premiere Pro CS5 with RED digital cinema content”

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

I point to more technical detail about working with RED (R3D) files in this post: “new RED color science, and how to make it all work with After Effects CS5 and Premiere Pro CS5″.


Panasonic P2

“Adobe Creative Suite 5 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.


AVCCAM

“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: working with AVCHD footage in Premiere Pro CS5
  • Part 3: working with AVCHD footage in After Effects
  • Part 4: delivery options and working with AVCHD footage in Adobe Media Encoder


Canon digital video camcorder and DSLR cameras

“Using Adobe Premiere Pro CS5 with Canon Digital Video Cameras”

This paper covers video formats used by Canon video cameras–DV, HDV, and AVCHD, as well as the new Canon XF MPEG-2 codec.

Adobe Premiere Pro CS5 also offers native support for high-definition video shot with the Canon 5D Mark II, 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 CS5″.

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 CS5 and other applications in Creative Suite 5 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 CS5 in general.


XDCAM

“Using Adobe Premiere Pro CS5 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.

12:33 PM Comments (1) Permalink
June 4, 2010

video tutorials, didacticiels, tutoriels, Lehrgänge, チュートリアル, esercitazioni, tutoriales

[See the corresponding post for After Effects, too.]


English


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.


日本語


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。


Deutsch


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.


Français


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.


Italiano


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.


Español


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.

12:18 PM Comments (0) Permalink
June 3, 2010

how to search for Premiere Pro tutorials, Help, and more

As I said in a post for After Effects, Community Help search is better than plain ol’ Google. Really.

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 I maintain. I 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 me, and I’ll evaluate it for inclusion. (One of the ways to tell me 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.

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.

2:58 PM Comments (1) Permalink
June 2, 2010

a call for submissions, suggestions, and so on

[Subscribe to this blog.]

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.


community resources in all languages

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.


getting started resources

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.


additions, corrections, and links for Premiere Pro Help

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.


changes to Premiere Pro Community Help search

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.

10:24 AM Comments (0) Permalink
May 25, 2010

Welcome Todd Kopriva to the Premiere Pro community

I’ll be leaving my post at Adobe at the end of this week, and Todd Kopriva will assume the lead position for Adobe Premiere Pro documentation come Tuesday morning (Monday is a U.S. holiday). Todd is an experienced computer-video writer and editor. Todd has been for years, and will continue to be, the After Effects documentation lead. I will continue to administer the Premiere Pro Training blog through Friday, May 28. Then, Todd will take this helm by Tuesday, June 1.

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.

4:19 PM Comments (0) Permalink