April 6, 2018

Premiere Pro CC2018 v12.1 April Release Notes (NAB2018)

(available for download as I write this)

Updates and new features include:

New Onboarding welcome screen

You can now learn more about Premiere Pro using the tutorials within the app. You can access learn content from two places:

New project screen
Learn workspace


New: Shot Comparison View

You can now split the Program Monitor display to compare the look of two different clips or the look of a single clip before and after applying an effect.

You can use this Comparison View in many ways, such as matching the colors between two shots or for adjusting the intensity of an applied effect such as a blur or film grain. Using the vertical or horizontal split allows the user to drag the splitter back and forth across the image to “onion skin” the differences.


New Lumetri Color panel options:

– fx bypass option – to temporarily toggle an entire effect on and off
– Reset Effect – to reset all effects for a single shot
– Custom LUT directory


New Auto Duck music

-you can automatically generate a volume envelope to duck music behind dialogue, sound effects, or any other audio clip.


New Updates to Motion Graphics Templates

-You can now browse for Motion Graphics templates easily using the Essential Graphics panel. You can search for templates that are available locally, in CC Libraries, and in Adobe Stock.

After finding the template you need, you can just drag it into your sequence – regardless of where the template is stored. The redesigned Browse tab also supports hover scrub to preview animations, favoriting Motion Graphics templates, and keywording for quick, intuitive organization, and searching.


New for VR/Immersive workflows

– Support for the Windows Mixed Reality platform HMDs
– Improved performance for VR Plane to Sphere effect


Update for Team Projects

-Improved tracking for online collaborators
-easier project management
-ability to view read-only versions of your projects


New redesigned Timecode Panel

-you can now show new display options, such as In/Out, Duration, Absolute timecode, Remaining timecode, and Source timecode.


New Video Limiter Effect

-enables you to limit chroma and luma CHANGE TO RGB values to meet broadcast specifications. It can be used as a per shot effect while you are working with Lumetri Color, or added as an output effect to limit the entire sequence upon export.


New COPY and PASTE sequence markers

-You can now copy and paste full fidelity sequence markers when moving one or multiple clips, maintaining the same spacing as from where copied. All marker information such as color, notes, duration, marker type is preserved during copy and paste.


New Support H264 & HEVC Hardware encoding

-supports hardware-accelerated H.264 encoding on Windows 10 with 6th Generation (or later) Intel® Core™ processors and Intel Graphics enabled, and hardware-accelerated H.264 and HEVC encoding on Mac OS 10.13 systems with supported hardware. *Note* On supported systems, Hardware Encoding can be selected as an option in the Encoding Settings section of the Export Settings dialog. If the specified combination of Export Settings is not supported by the hardware, there is a fallback to Software Encoding.


New File Format support

– Importing Canon C200 camera formats
– Importing Sony Venice camera formats
– RED camera Image Processing Pipeline [IPP2]


IMPORTANT: Quicktime 7 era formats and codecs has been dropped

Adobe continuously aims to keep up with the most modern workflows and support formats and codecs broadly used across the professional film and video industry. As a result, future versions of Premiere Pro, starting with version 12.1, will no longer support legacy QuickTime 7 era formats and codecs. Professional codecs typically found in QuickTime movie files, such as ProRes, DNxHD, and Animation, are not impacted by this change. These codecs are supported natively in Premiere Pro.

To alert Premiere Pro users regarding this pending change, the most recent versions (12.0, 12.01) of Premiere Pro show a warning notification when you attempt to use a legacy QuickTime format or codec that will no longer be supported, starting with the 12.1 release.

More info here:


New FIXES addressed in this release of Premiere Pro CC

-Crash while toggling RED Camera Orientation checkbox for attached source footage file

– (Mac only) Crash in Opencl_runtime

– Launching Premiere projects with certain VST3’s Audio plugin leads to crash on startup

– Crash caused by Metadata cache database when opening project

– Premiere Pro crashes when track items are deleted and previewed in HMD

-Crash when relinking file if Media Browser is in Thumbnail view

– Premiere Pro crashes while importing ALE files

– Auto Save for Project on unmounted drive results in multiple unknown error dialogs and may crash

– (Mac only) Occasional crash with Media Browser when unmounting an image (and possibly a disk)

– PProHeadless crashes at first launch

– Double clicking a timeline in the project panel opens up a timeline panel with no contents. This issue sometimes causes Premiere Pro to crash

– Crash when playing some files at 1/2 resolution

– Changing to Metal Rendering when Lumetri Scopes are open can cause Premiere Pro to crash

– Loudness radar causes non-reponsiveness with AJA io4k hardware

Corrupted VOB clip causes Premiere Pro to crash on import

Using Basic 3D effect with OpenCL/Metal can cause the operating system to freeze

Playback and performance

All frames are dropped on playback of an HEVC clip when playback is set to less than Full resolution

Opening some projects results in unexpected amount of memory allocation

Change Playback Engine does not automatically update cultist/render bar

File format support

4K DPX sequence causes memory leak in Premiere Pro version 12.0.1

On first import after install, MXF decode error reported with particular ARRIRAW MXF file

Some mov files do not use the native libraries

XF-AVC file( YCC , Canon Log 2) does not show Full Range in Lumitri Scopes

GH5 HEVC files are not able to import or play back

XDCAM-HD is not recognized if the CUEUP.XML file is missing from the file structure

R3D source settings cannot be turned off in the master clip effect

Some R3D files are not flipped automatically

XOCN master clip colour space change from Rec709 to Slog 2 or 3 does not work

Parsing captions while importing sample file causes file to display Media Pending message indefinitely

Changing caption parameters has no effect on exported stl file

MOV files with closed captions from Dalet import as Media Pending and do not display captions

Styling changes to captions (STL and SRT) does not update in timeline

Changing video settings for captions does not affect the font size

If you create long captions in the timeline using the New Caption option in the
context menu, the Captions Block Inspector does not create a scroll bar
Imports and projects

Editing clips between projects hangs Premiere while project is checked for duplicates

Metadata panel is active with read-only projects

Project alias does not open project in new window when using the Alt/Option+double click keyboard shortcut

Write keyframe mode is not preserved when switching projects

Multicam does not copy to another project correctly if component clip is buried in a bin

Open Project does not open closed Project panel tab

Media Browser does not update on computer 1 when you change in/outs on computer 2

Media Browser fails to display files from Studio Network Solutions network drive when mounted using AFP

Track Item label colors do not copy over to new projects

If multiple items are selected in Bin, Metadata panel only adds two entries of information

Editing and effects

Copying a new .cube file into Lumetri Folder breaks previously set LUTs

Morph Cut only allows Center on Cut

Resize mask function using the Shift + mouse drag does not work

Toggle select track and press W has different results

Clip Timecode settings auto-reset to Alternate timecode setting

Default transition duration opens incorrect pane in Premiere Preferences

Set Default Transition Duration from the Effects flyout menu goes to the wrong Preferences dialog

Transform Anchor Point is off a pixel in the xml export

Track Matte Key effect is broken when applied above any clip with a mask

Cannot slide numbers with Wacom tablet

Interpret Footage should be enabled for merged clips so Field Order settings can be edited

Track Fader hit area is off when fader is started at the lowest setting

Relinking source footage from proxy .mov to hi-res .mxf makes sequence tracks containing referenced audio can go off-line

Scopes have serious drawing issues

Disable master clip effects does not work on bins

Alt-clicking Write Keyframes in Clip Mixer not working properly

Esc causes Source View player issues on Mac and closes player on Windows
When you add metadata to multiple selected items, the metadata does not add to last clip

Saving a copy of a project and opening that project causes the existing project tab decoration to falsely display as bin

When you save a project using Save As or Save a Copy there is a break in Filter

Bin Content and Search Bin

Export and Render

Export is truncated when using newly deployed exporter preset

Using Time Tuner on video with R.128 loudness normalization causes segmented and flickering EBU .STL sidecar file

When you export media with the same name as a previously deleted file, Premiere Pro issues a message indicating that the same file already exists in the project

Encoding error when exporting MOG files to MXF Op1a AVC-Intra 100

Low-level exception error occurs if you use the Pixel Motion Blur effect causing render failure.

Encoding error on some mp3 files

Unable to export or process Barco Escape ProRes444 with data burn to Vimeo mp4


When you copy/paste clips with audio from After Effects, Premiere Pro does not copy more than first second of clips

Replace with AE Comp gives a darker composition

High sample rate audio sent to Audition comes across as the wrong sample rate

Distortion or garbage in audio when exporting AAF files

Flattening multicam clips resets the audio to unity (zero dB)

Audio Track Mixer Latch/Touch automation modes sometimes fail and switch to Write mode overwriting automation keyframes

Noise artifacts are heard in stereo audio clips that are placed in Ambisonics sequences when Binauralized monitoring is used

Peak files are missing their extensions on Windows 10 with MXF files
Adobe Immersive Environment

Only one of the HMD hand controllers works with Mac systems

A low-level exception occurs if you attempt to preview an audio only clip when the Adobe Immersive Environment is enabled

Mac Premiere transmit to HMD from the Source Monitor produces a garbage frame or two when the Paused Resolution and Playback Resolution are set to different values

Loud garbage plays back if you attempt to preview Ambisonics audio, that was imported as Mono 4 channel, with binauralization enabled

Changing the color of a track item fails to automatically get reflected in the HMD timebar

The name of a sequence on the HMD timebar does not get automatically updated after you make an edit to it

The HMD Timeline’s Zoom bar, at fully zoomed in position, becomes very difficult to move. Attempts to move it usually result in changing the zoom scale instead of scrolling the view.

When the HMD Timebar has content three minutes or longer the Zoom control bar cannot zoom in enough

Unable to scroll the HMD Timebar view during playback

Clicking on an empty part of the HMD Timeline’s Zoom bar well fails to scroll the Timeline view

The HMD Timeline’s Zoom bar setting does not match the timeline display after you switch to a new clip

The HMD Timeline’s Zoom bar art gets truncated when at fully zoomed in position

The hit spot for adjusting the start or end point of the Zoom bar in the HMD Timeline is too hard to access

Premiere Pro transmit to HMD is extremely slow to initiate on Mac, and sometimes it fails to work at all, after the HMD has been in Stand-by mode

Offline track items fail to appear in the HMD Timeline as red

IN and OUT markers that are set in the Source Monitor fail to appear when viewing the HMD Source Monitor Timeline

The Track Head-Mounted Display option for the Program Monitor toggles off when you switch to a different sequence

If you move the CTI right after jogging, audio previews for a couple of seconds and then stops

Extending the Jog command swipe of the hand controller beyond a 180 degrees messes up the HUD display and haptic feedback

The HMD Timebar fails to highlight the time ruler after just an IN or OUT marker has been placed

VR properties added to a clip that is already in the Source Monitor does not enable HMD viewing

Premiere Pro cannot open .mp4 files generated by JauntVR’s tools


Translation and other localization fixes

Miscellaneous UI fixes

5:52 PM Permalink
February 14, 2016

What’s new in the Premiere Pro CC 2015.2 Update

Premiere 92

This update provides a number of bug fixes reported by users (these are listed below) that we’ve addressed (many thanks to those of your that submitted bug reports) .

In addition to the bug fixes , we’ve also added a new Feature found under the “Wrench Menu” on the Program or Source Monitor that when you Toggle it on the new High Quality Playback setting can provide a smoother viewing experience, where playback better matches the image quality of frames when paused. High Quality playback may result in dropped frames depending on the media and hardware configuration, and most users will find the default settings are still the best choice for real time playback.


HQ playback

Fixes in Premiere Pro CC 2015.2 address the following issues:

* Adobe Stock and CC Libraries could not be used by users who connect to the internet using proxy servers.

* Premiere Pro could not launch on Windows systems with AMD Phenom 2 processors.

* Users of Wacom tablets could experience interface lag.

* Multiple fixes with Adobe Stock support.

* Dissolves displayed incorrectly on OS X El Capitan when working in CUDA mode.

* Crashing issues when Warp Stabilizer re-analyzes.

* DNxHD MXF import sometimes failed.

* Titles could not be imported via the Import dialog on Mac.

* Playback could stop when audio input was set to digital on Mac.

* Synchronizing by audio waveform could give inaccurate results.

* Double clicking a clip or sequence when the Project panel is in icon mode did not open the item.

* Soft Subclips could appear with black thumbnails in the Project panel.
Rendered files sometimes did not maintain sequence start time.

* A crash occurred with importing .wav files from Fostex DC-R 302 recorders.

* Moving the info panel could cause a crash.

* AVCi100 OP-Atom MXF files from Avid displayed incorrectly.

* Audio drop-outs occurred on export.

* The final frame of a nested sequence displayed incorrectly when using optical flow with GPU enabled.

* Merged Clips could become corrupted when round-tripping via FCP XML.

* PSD files caused Premiere Pro to stop responding when closing a project.

* Live Text Templates with more then one parameter often lost render previews.

* Sync Settings did not respect system proxy settings on Windows machines.

* Specular highlights corrupted when exporting to non-PQ J2K files in HDR workflows.

* Merged Clips dropped into a sequence were unlinked.

* Premiere Pro project names incorrectly permitted the back and forward slash characters.

* Render files did not travel with transition and analysis data.

* Text layers in Live Text Templates displayed with jaggy edges.

* XML files exported from FCP 7 could show as corrupt sequences.

*Incorrect fonts were displayed when importing an XML from Annotation Edit software

*Reverse playback could occasionally not work.

*Panasonic 50i/60i .mp4 and .mov displayed incorrectly.

*Premiere Pro crashed if the preferences folder was set to be read only on Mac

*Exporting to QuickTime with MPEG-4 Enhanced Low Delay Audio could result in an Error Compiling Movie dialog.

*GPU playback and rendering failed with sequences containing the Track Matte effect.

*The About dialog showed an incorrect version number.

*Crashing could occur with AJA 12-bit HDR output in software mode.

*IMX 30 full-frame anamorphic exports were incorrectly exported as 4:3.

*Several situations where crashes could occur have been resolved.

4:18 PM Permalink
November 24, 2015

#1 Technology Pick for 2015 – LG OLED 4K HDR


It’s that time of year again to look back and see what 2015 bought us in terms of technology that enhances the ever changing video production workflow and experience. In 2014 I talked about UltraWide displays taking over the video production desktop and no question I’ve seen them everywhere as I traveled around the globe this year. While there are several high quality models of these 34” wide displays on the market from various manufactures, no question that the LG models still stand out to me with their onboard Thunderbolt which helps us in our daily workflow with so many add-on Thunderbolt benefits ranging from portable storage to 10Gig Ethernet adapters and more.

For 2015, I once again look to what’s changing in our world of high-end video production. We all know 4K/UDH is here and available at various price points that attract buyers at all levels. But honestly, 4K for me is not enough to change my personal TV viewing habits. I’ve been working daily in 4K and even some 8K for a while and for the past few years we have narrowed down many of the 4K – 6K resolution challenges. These once complex high-end workflow pipelines are now fairly commonplace in many video production houses.

We all knew that High Dynamic Range color (HDR) is coming and as you can imagine working for a company like Adobe Systems (20 years now), I’ve been working with HDR in one form or another for many years. If you are new to HDR for video, in simple terms, it’s higher contrast/brightness and more accurate color that deliver a more “real world” experience. For years, I’ve worked with extremely high-end proofing displays and often wondered when/how would we get that quality delivered to the average consumer for everyday use. My peers and I would discuss these questions as they would range from the obvious workflow pipeline (moving huge files in/out of production) to content delivery to the consumer.

I’m here to tell you – 4k HDR is here, it’s real, it’s now, and I’m hooked.

HDR On 206

For the past several weeks, I’ve buried myself into the latest 4K & HDR technologies. As with any new technology you need to look at what will drive the change. Or – why would anyone spend money on this?

Whenever new TV technology comes out, it usually requires you spend a lot more money to buy additional items to get the full experience. These include things like expensive media players or worse, special 3D glasses that only work with that particular TV set and so on. For the record, I still dig good Stereo 3D content, but lets face it, it’s not really an everyday thing and it’s more or less a fad that had it’s time. I consider it more as a special event technology.

4K and HDR is anything but a fad. The sheer difference in image quality will leave in you awe. If you are new to 4K, you’ll quickly see that the image looks great when you are really close to the TV. This is completely opposite from your current experience with many LCD or Plasma sets which looks better from about 6-8 feet back. With 4K/UHD resolution sitting about 6-8 feet back from the TV it still looks great but any further back and you will quickly see that it starts to lose it’s effectiveness.

HDR 2020 432

With 4K and HDR content your experience is completely different. The image is strikingly better no matter how close or how far back you are. The simple reason for this is the new color space it now offers the viewer. I could go into a deep explanation of current TV standards known as Rec709 and switching to newer standards like Rec2020, but all you really need to know that the image is so different and more true to life, you’ll be hooked at first glance – guaranteed.

What about content? This was my first question when I started reviewing this technology. We all know to well that “Content is King” for any kind of mass adoption. As you can imagine, at first, I had lots of questions: What’s required for the full experience? Will I need to buy another media player? If so, forget it… I have too many already.

WOW, was I surprised when I started to look for HDR content. There is already HDR content ready to stream to your TV and no “extra” media player is required to view it as it’s all built in the Smart TV and ready to use.

Companies are already fighting for your “eyes on screen” time as there is simply too much video content to absorb in one day. The video production world is quickly ramping up and learning newer and faster ways to work with HDR as one sure way to get more eye on their screens.

People are always looking for new ways to see, experience, and share video content. I see HDR as hands down a clear winner for new content technology that will quickly evolve. If you remember the first time you saw HDTV vs your old TV , HDR will leave you with the same feeling.

Amazon HDR 505

What’s changed for content delivery in 2015 – 2016? As you might recall, previous advanced tech like HDTV or worse 3D, usually was centered around sports or specially video like nature shorts. Currently for me, Amazon has been the HDR destination place and they have some great new content with more coming. I’m currently hooked on a new show called “The Man In The High Castle” which is beautifully shot and breathtaking in terms of the total picture immersion experience. Tip- HDR really stands out in this series starting with episode 3 when there are brighter shots outside the city. Amazon has several other HDR series as well as movies. No question more are on the way and other media delivery/broadcast companies are taking note.

What makes it different and do I buy now or wait?

With HDR, for me it all comes down to the power of light and how to control it. How black is the black and how pure is the white? These are the image basics for great and accurate color. Hands down OLED is my current technology of choice. Once you see the difference between the various technologies it’s a no brainer.

Again, it’s all in the power of controlling the light. Here are 2 TVs showing LED vs OLED. There is virtually no bleed of the white light. In simple terms pure black is produced by turning off the voltage at the pixel level. You’ll quickly notice when the TV goes to pure black it looks as if the TV is completely turned off. Another bonus… OLED also draws less power compared to other LCD & Plasma technology and is razor thin and light weight.

LED vs OLED_3 900


LED vs OLED_7 900



While there are several companies making OLED TVs available, LG clearly as a company that is committed 100% to bring this technology to the home. They are basically putting all of their efforts in the OLED space and helping to bring the cost down to affordable levels for the average consumer. As with any new technology, it does come at a price when it first rolls out and settles down after several months. If you are looking for a long-term TV now rather than replacing your TV every few years then take a look at the new LG OLED HDR TVs. Your best bet is aim higher and keep the set longer and enjoy the new content as it rolls out.


Back to Content Delivery…LG has built their content delivery on webOS 2.0 . You might remember this technology from a few years ago from cell phone maker Palm Inc. and later sold to HP. In 2013 LG acquired WebOS from HP and it’s now part of the growing LG family of advanced technologies.  LG’s WebOS 2.0 for SmartTVs now includes even more powerful features in it’s software development kit making it a solid and fast technology to build a content delivery playback platform.


YouTube 4K
I reviewed lots of SmartTVs over the years and one thing always stood out…the built-in apps are too slow…. This includes many set top boxes that all had access to various Content Apps – all too slow… The webOS 2.0 App experience on the LG TV’s like the Curved 65EG9600 and the standard 55EF9500 is blazing fast. There are also additional free Apps you can download from the LG Content Store.

LG remote

For quick navigation, LG also provides a very simple remote that acts like an “Air Mouse” making application switching a breeze. You can quickly jump from 4K YouTube to Netflix or Hulu to Amazon HDR with a simple point and click just like your desktop or laptop.

What’s next in my HDR workflow testing for 2016? I’ve added LG 55EF9500 OLED display to my current editing suite and so far I’m very impressed with the result for 4K preview – actually it’s stunning. I also use a LG Curved 65EG9600 for viewing online content via the built-in webOS 2.0 as well as a 4K ready TivoBolt matched with a Yamaha RX-A1050 AVENTAGE 4K HDR receiver – Yes, I’m all in……

OLED Workflow copy 900


PremierePro CC HDR 700

Lastly , what about HDR preview in Premiere Pro CC ? I’m currently beta testing some new and some unreleased computers with the first HDMI 2.0 on board display output with new HDMI High Speed 18Gbps transfer speed, 4K @60, 48-Bit Deep Color, and Audio Return Channel (yes, to get all of the advantages of these new displays you need new cables  – look for Media Bridge $10.00 twin pack cables on Amazon) The goal is to see how/if we can use OLED technologies and HDMI 2.0 with 10bit/12bit color HDR workflows for desktop preview. I’ll also be looking for adapters to bridge SDI to HDMI 2.0 to carry those signals at CES 2016 for 3rd party I/O cards that currently offer 4K HDR over SDI.

4 8 stars


wide view

For now – well done LG on your successful rollout and commitment to OLED.
Only one small complaint keeping it from 5 stars … No Skype on webOS 2.0 and I use Skype a lot in my studio. Let’s hope that gets addressed.

More to come…

1:04 PM Permalink
September 7, 2015

Top Technology Pick: High Point Technologies



One of the challenges I face quite often in my ProVideo testing lab is the ever changing hardware that arrives on a regular basis. While it sounds awesome (let’s be honest – it is…) , it’s also a challenge  – as we all know in the real world we need to keep those older high dollar investments up and running as long as we can. I get these types of questions on how to keeping older tech updated  all the time.

One clear example of this $$$ investment is storage. As man you of you know, I have always been a fan of the Gtech ES Pro line of SAS drives. They are blazingly fast, very reliable, and in heavy use by video professionals world wide. I’ve had my pair of ES Pros with 8TB of storage running pretty much everyday for years without a hiccup. For many of those years it was the only real way to get the speeds I needed for true 4K editing on a Windows or mac based computer (Remember that PC Windows Dual Xeon Workstations did not really get Thunderbolt2 until mid-2014 and SAS was and still is a solid performer) .

Once companies started to offer Thunderbolt 2 add-on option cards for Dual Intel E5 class Xeon processor workstations like HP’s Z 820/840, Dell Precision 7910, and Lenovo’s P900, things got a little tricky in terms of keeping those SAS drives going at full speed while taking advantage of new technologies like Thunderbolt2. For the past 12 months or so, I have been testing some add-on gear to help solve this problem.

Why so long before recommending it?

I wanted to insure its reliability and overall performance for the long haul. The desktop I’ve been using in my most recent stress tests over the past 6 months as been the Dual Xeon equip’d “tricked out” ThinkStation P900 with a M.2 Boot SSD module, 128GB RAM, NVIDIA GeForce TitanX,  and Thunderbolt2 option. With the proper storage speeds as I’ll discuss here,  it edits 4K & 6K with ease.

Lenovo TB2 with RockStor

The best solution I could find to solve the challenge from a price/performance standpoint was High Point Technologies RocketStor 6328 Raid adapter (priced at about $675.00) . With its Dual SAS Input connection and Thunderbolt2 I/O it gave me the speed I needed to keep the raided pair of Gtech ES Pro units up and running at full speed (about 650-750 MB/s) . Installation was a breeze. Just  load the Windows 7/8/10 Thunderbolt2 RocketStor driver and connect your SAS cables to the RocketStor 6328 Thunderbolt2 storage adapter and watch your drives mount. *note* HighPoint recommends that you back up your SAS drives before you proceed with adding the RocketStor 6328  adapter . I had no issue as my data was intact after the upgrade and still is as of this day. For the record, OS X users can also take full advantage of the RocketStor 6328.


One reason that my data was still intact and no need to format  might be that the original G-Tech SAS card that came with my ES Pro drives was in fact made my HighPoint Tech (If you have one just look at the SAS card) BUT AGAIN, be careful with your data and make sure you take the proper steps to insure that you are covered if you need to reformat. If you don’t need the data on the drives or can back them up , then I would HIGHLY recommend formatting the drives to have a solid fresh start on the new raided drive set. I will admit, that the HighPoint Web UI takes a little  getting used to for Raid management but has everything you’d expect to see in a utility like this. Setting up the unit for RAID 0,1,5,6,10,50, or JBOD was straight forward.


For people just wanting to add Windows 10 compatibility and wanting to stay with a SAS card (many older SAS card drivers won’t work reliably on Windows 10), you can now just replace your older SAS card with the new RocketRaid 4522 (priced at about $599.00) which still gives you a full 8 channel PCIe 2.0 connection to 8 SAS/SATA drives with 6Gb/s hardware RAID. With 512MB DDR3 Cache and Thunderbolt aware (for TB chassis use) it’s my top pick for a new SAS card. (Also supports OS X) The RAID modes are basically what you would expect from any high-end card – RAID 0,1,5,6,10,50, & JBOD. Speeds are great…. (750MB/s in my tests on SAS equip’d ES Pro drives – 2 pair of 4 drives , 8 total)


I also wanted to point out a few other cool technologies from High Point Tech that I use on a regular basis. The RocketStor 5212 dual bay Thunderbolt powered docking station for 3.5” & 2.5” HD/SSD’s is something I use nearly every day in prepping drives for various machines (6Gb/s channel for both drive bays) . Compatible with any Mac or PC with Thunderbolt

Highpoint dual bay


Recently, I received a RocketStor 6414AS drive enclosure (mini SAS connection) paired with a RocketRaid 4522 card mentioned above as well as the new RocketStor 6314A Thunderbolt2 Raid enclosure and both units have been up and running non stop for about 45 days or so and no reported issues. In short, these enclosures allow you add your own drives (I usually get matching drives from AMAZON or reuse  older matching drives) and build out a RAID system based on your specific storage and speed needs. Both units support, SAS, SATA, and SSD drives. For 4K editing I highly recommend a total of 8 drives on a hardware RAID card or Thunderbolt 2. This will insure that longer projects load quickly and give you the playback performance needed. You can pair two 4 bay units or Highpoint also offers a full 8 bay rack unit like the Rockstor 6424TS or even a 16 bay unit like the RocketStor 6424TS



If you are new to High Point Technologies you can find out more here : http://www.highpoint-tech.com


5 Stars copy

DAV TechTable Top Pick

5 out of 5 stars on the Rockstor 6328 


8:21 PM Permalink
April 8, 2015

What’s new for Premiere Pro CC at NAB 2015

As you’ll see, Adobe ProVideo engineering has been busy. The features in this release are simply amazing and totally fun. I should take the time to thank many of you that submitted feature requests, bugs, and general comments on what’s working and what can we can improve. User feedback that end up as user features is truly what makes Adobe Premiere Pro different than other editors and Creative Cloud just gets you those user suggested features delivered faster than ever.

When you launch the new app for the first time, you’ll see a new Welcome Screen as well as an updated cleaner look to the user interface.

Copy and paste this Link  to view the video:  www.youtube.com/watch?v=O1clWi4hta4

lumetri Color

1. New Color Workspace: now includes the Lumetri Color panel
As many of you know, Lumetri is the color engine that powers Adobe SpeedGrade and it’s now integrated into Adobe Premiere Pro CC in a new more “creative way”. The idea is to adjust color as you go during the editing process. I like to call this “color editing” . While the new Color Panel is very powerful and will satisfy most users need for complex color work , we wanted to be careful not to confuse Color Editing with Color Grading with specific grading tools like Adobe Speedgrade and others.

selection follows playhead

2. Task Oriented Workspaces
You can now toggle between new workspaces that are optimized for the task you are doing. You can manage toolsets and options. One example is the new “Selection Follows Playhead”. This is turned on by default in the new Color Workspace as it will automatically select any clip that the playhead touches.


3. New support for Premiere Clip work flows
Now you can shoot and rough cut on your smart phone/tablet, sync with Creative cloud, and if needed finish the work on your desktop with the new tools in Premiere Pro CC.


4. Morph Cut
This is a perfect tool for cutting together interviews where you have a locked down shot,  still background, and when your subject looses their train of thought and goes silent or they talk on you now have a new tool that allows you to cut down the interview tas needed. The problem has always been how to cut and transition between segments without a huge “jump cut”. This new tool will Morph the 2 segments together. You just have to try it to understand it… It’s mind blowing.. You will need to spend time with it to understand when it will work and when it won’t . Audio can be an issue as you can’t really Morph audio the same was as video.Take a look at the video link to get a better idea.

5. CC Libraries & Project Candy
Now you can share Looks and Luts and other assets from the new Library Panel which sync with Creative Cloud. You can also share assets with other team members. Project Candy is a new iOS app for creating .Look files from your smart phone/tablet. The captured Looks sync to your Library folder and appear instantly in Premiere Pro CC and AfterEffects CC.Once synced , you can apply those .Looks to any clip.

time tuner

6. Time Tuner
This is a new tool for the Export workflow where duration of the exported movie is critical. We do this by adjusting the length of your video by automatically adding or removing frames at scene changes, in sections with still images, or low visual activity, or during quiet audio passages. No more manually “micro editing” to reduce time. This is a perfect solution for broadcasters needing to make room for ad insertion. This is another new tool that you will need to experiment with as adjusting the video to anything close to 10% tend to be noticeable. I find 6-8% is the “sweet spot”.

7. Mercury Transmit Performance Improvements 3rd party I/O
Significant performance improvements to Mercury Transmit mean users of third-party I/O hardware for monitoring will experience increased responsiveness and improved playback reliability. We have worked closely with AJA, Matrox, BlueFish , and BlackMagic on these performance gains.
burn in captions
8. Closed Caption (CC) improvement
One common request I got all the time was to support “Burn-In” for closed caption. While Premiere Pro CC is well known for its simple Closed Caption workflow, this opens up the workflow for other uses . This also makes it easy to review CC on non-CC enabled hardware.

9. Expanded format support
Premiere Pro leads the industry in native format support, now including  Canon XF-AVC, Panasonic 4K_HS, JPEG2000



10. Support for Windows touch devices like the MS SurfacePro 3 and the new Dell m3800.
This is our first steps towards a more touch-friendly editing experience, allowing editors with hybrid devices to easily do things like move clips in the timeline, scrub the playhead, and manipulate color parameters directly by touching the screen. The work is just beginning and we will want to hear from our users as we go through the design process. I find myself using touch a lot more than I thought I would. I think it’s due more to the daily use of our smartphones/tablets as you just instinctively touch the screen. I find this more useful when I’m reviewing a timeline with an other editor rather than actual editing. I should point out that we are also being careful not take away any part of the editing experience that are 100% keyboard driven or clutter up the UI. Let us know what you think as comments are always welcome.
11. Audio workflow improvements
You’ll see that we added a faster voiceover record setup and much easier audio channel mapping, improved multi-channel export, and a more consistent Audio hardware setup. We’ve also done a fair amount of work with AAF for DAWs (Digital Audio Workstations ) for tools like Adobe Audition and ProTools.
R3D source
12. New Source Settings workflow for RAW media
Now you can access the RAW source settings in the MasterClip Effect section of the effects panel allowing you reset any parameter quickly and easily.
hot keys
13. Hot Text now uses Up/Down Arrow
OK, this one is HUGE for me. In the Effects Panel or new Color Panel you can now click on the value and adjust it up/down using the arrow keys. You can hold down the shift key to adjust by 10 or Cntrl/Cmd key to adjust by 1/10.

9:01 PM Permalink
February 2, 2015

My Little 11″ MacBook Air …

I have to admit that I really missed carrying my 11” MacBook Air (2012 model) with me on my travels. The internal SSD was just getting too small to demo our apps with all of my demo files and I basically was using it less and less. With my huge 4K and 6K demo files , I had to use an external drive which worked fine but really took away from the cool factor of this tiny but powerful computer that not much bigger than an iPad. – and yes, with Premiere Pro’s Mercury playback engine , even the MacBook Air with 1GB Intel OpenCL graphics can edit 4K & 6K video…..

As my good friend Terry White (http://terrywhite.com) and I have known for years, OWC understands our “Mac upgrade” pains so well. With a quick click over to the OWC website, I quickly found exactly what I was looking for – a 1TB internal drive SSD module which is actually larger than my current 15” Retina MacBook Pro @ 750GB .

install guide 1

The hardware install part of the upgrade took me less than 5 minutes . OWC even has a full online installation help sections with video “Walkthru” guides and phone support if you need it. What also makes this the perfect and easy upgrade is that they have really thought of everything . They give you both Torx drivers. These are also fairly high quality Torx drivers that you will actually want to keep after the installation. These quick pictures show the process.

install videos






The old 512 internal SSD model would be useless in most cases relegating it to a drawer somewhere, but OWC also includes an Envoy USB 3.0 sleek looking case that matches the side profile of the MacBook Air to re-use the proprietary memory. You even get rubber feet to hide the screws and a small black velvet slip case to keep it looking shiny and new.






Using the BlackMagic Disk Speed Test, I ran a speed test on the external memory and I got 387 Mbs on the Read and 320 Mbs on the write

Speed Disk External

If you are curious the internal memory module got an impressive 516 Mbs Read and 426 Mbs on the Write. – wow is all can say…. This Tiny 11″ is now back in my Laptop Bag !!!

Internal test

5 out of 5 stars on the TechTable….

5 Stars copy

5:37 PM Permalink
January 8, 2015

My #1 pick for 2014

LG Desktop


As many of you know, I review a ton of gear each year and I often get asked which piece of gear I found most useful for my daily work and which piece of gear would I most recommend that people consider adding to their workflow and why…

In past years, my pick usually involved getting better pictures from cameras but this year we saw our share of some great new tech for the video professional. Gimbals like the DJI Ronin and smaller units like the iKAN FlyX3 but the one item that stands out the most to me and one I recommend to clients several times a week is the new line LG 34” super wide  displays . LG actually calls these “LG UltraWide” which is more accurate description.


Why a display? For starters, it’s more than “just a display “, it’s a well thought-out 21:9 display with a Thunderbolt 2 dock built in! With one cable I can connect my Thunderbolt desktop or laptop to the display and get all my necessary connections as well as unbelievable desktop space for editing. As you can see from the picture of my busy desk , I have a lot going on as I have 4 editing systems in my editing bay ranging from OSX , Windows 8, NVIDIA , and AMD GPUs. This set up actually allows me to do bench marking as well as answer questions from customers based on different configs.


In the past it took 3 monitors connected to an expensive Gefen Display Port 4×4 KVM switch and a ton of cables. As many of you know, it’s very common to run 3 displays in order to get the real estate they need to organize their work. With the newUltraWide LG’s , you can actually reduce those down to two displays- one for editing and one for 4K preview. For me, it also provides a wider timeline view without the need to keep switching resolutions back and forth. The key benefit on the technical side but only using 2 displays you are saving GPU processing resources by only needing to “push” 2 displays rather than 3 (less pixels to refresh) . As many New Mac Pro users now know, having too many displays on your system taxes performance on the AMD D500 or D700’s and understanding the 3 different Thunderbolt Buses is critical to the New Mac Pros performance. With the newer LG 34”UltraWide , you can rest easy with less configuration headaches.

I started using the 34UM65 Thunderbolt 2 displays in early 2014 and quickly found them to be the answer I was looking for. I tried using a single 4K display as well but editing on a 4K display requires more GPU to access the 4K real estate and you still need a 2nd display for full screen preview. As LG figured out, the simple answer is width not height.

LG quickly followed up with their Curved version of the UltraWide display 34UC97 which is what I now use daily – I can honestly say that the best just got better….

LG Desktop copy copy

New Mac pro Z820

As you can see in the picture above, There are 2 UltraWide displays on my editing desk. One for my HP Z820 (now with Thunderbolt2) and one for my New Mac Pro. Each editing platform has a matching 4K display for 4K preview as well as additional workspace.

One cool thing about Premiere and using multiple displays: whenever you jump out of Premiere (say to your desktop) , Premiere will release the full screen preview and present your expanded desktop allowing for additional workspace. Again , using only 2 displays. Tip: you access these settings in the Preferences>Playback>Video Device area (also known as Mercury Transmit

A few things to point out: The new LG 34UC97 and the previous version allow you to connect 2 computers and split the screen to a single display. This might be handy for people that want their laptop and desktop or Windows and Mac systems available at the same time with out needing a switcher. If you are a Windows 7/8 user , consider getting a newer PC  system with Thunderbolt 2. I have a single connection from my HP Z820 to the LG and it works great. Of course this is the current norm for Mac users already it’s just great to see HP, Lenovo, Dell, Gigabyte and others supporting Thunderbolt 2 as well.

If you have a system without Thunderbolt, you can still use the Displayport and HDMI connections. The good news is that you’ll have a Thunderbolt 2 ready display for your next system upgrade. I routinely recommend this display for users still wanting to use their older Mac Pros with a newer NVIDIA Cuda card or AMD card and needless to say, it quickly became their favorite upgrade as well.

If you plan to buy a 4K display as well , I would also recommend the LG 4K (31MU97) IPS display as a companion to the UltraWide display as the IPS colors are fairly close to each other. Always nice to have displays that match.

I also just got back from CES 2015 and there are a few other 21:9 displays but none have Thunderbolt 2 which again is not a must but nice to have the option.

A note for RED Dragon 6K users – This 3440×1440 display also provides an excellent playback display when used with RedCine or Premiere Pro CC 2014. Just set playback to ½ resolution and let the GPU take over and you’ll see what I mean. The IPS colors are truly amazing for this price point. This display should hold us for a while until true 6K display’s or 8K displays come within reach and I’m sure LG will have something for us.

What’s missing? Honestly, the only thing I would add to this display is an Ethernet port.  For now, the problem is easily solved with a $20.00 USB 3.0 to GigE adapter that you can hang off the back of the display. I use the Cable Matters one as it’s OSX 10.10 and Win 8.1 compatible – here’s the Amazon link.

That’s my 2 cents……


four_half-stars_0 copy

I can easily give this display 4.8 out of 5 stars  – hats off to the LG engineers…


9:51 PM Permalink
November 8, 2014

Should you upgrade your old Mac Pro ?



One common question I get at least once a week, from my Mac Pro customers is whether or not to upgrade their current Mac Pro or just bite the bullet and buy a New Mac Pro or a High-end iMac to run the latest versions of our Adobe Creative Cloud video/audio/imaging apps.inside-old-mac-pro

As in most cases, it really depends on what current gear you need to keep connected to your Mac Pro to insure your trusted workflow continues. I/O boards like Atto Fiber & SAS cards, AJA/BMD/Bluefish I/O cards and other PCI cards might be a compelling reason to upgrade your current Mac Pro. I’ve also seen custom Mac Pro racks and editing bays where the editing environment is actually created around the Mac Pro – ie, custom metal or wood work to incase the Mac Pro.


To be up front , it’s not exactly cheap to upgrade your Mac Pro to current high performance specs but it’s also not out of reach. So , let me start with the upgrade price which will typically range from about $1,500.00 – $1,800.00 depending on whether you decide add more RAM.

Keep mind that a high-end iMac with all those awesome options will run you over $3,500 and the New Mac Pro can easily top that (ie, I bought the 12 core D700 unit) . No question that both of these new Apple Desktops offer you a new warranty and of course Thunderbolt 2 (*note* you can not add Thunderbolt to an old Mac Pro as the Motherboard and Intel Chipset does not support it) but it also requires a change in most workflows. BUT – In some cases, it might be time to consider a change in workflow, as new Thunderbolt 2 raids and eternal I/O SDI units from Matrox, AJA, BMD, and others offer some great advantages.

For those people who want spend less and keep their current workflow as well as keep their “trusty” Mac Pro going for a few more years, then read on…..

Since I spend a fair amount of time testing high-end equipment and upgrades and my lab test machines for the TechTable are rarely over 18 months old, I reached out to good friend and colleague, Al Mooney (Premiere Pro Sr. Prod Manager) , who I know is very attached to his 2009 Mac Pro and would be a great candidate for an honest opinion of doing an upgrade like this. For those people that know Al, you know that he calls it like it is. Needless to say, he was up for it.


As most longtime Mac users know, a great resource for what’s new in Mac upgrades has always been OWC (Other World Computingwww.macsales.com). I’ve used them for years and I cruise their website several times a year just to see what’s new.

For  Al’s aging 2009 Mac Pro, I hit the website and easily gathered all the necessary “Pieces n’ Parts” for his upgrade.

These are the options that picked out for Al and  listed in order of performance relevance in case you plan to add these over time instead of all at once. (**note** not all Mac Pro Towers  take the same parts and some are limited to older OSX versions and it’s always a good idea to call your local Mac reseller or even the guys at OWC and double check your model for the correct parts)

680 mac

#1 on your list should be an NVIDIA 680 for Mac card or Quadro K5000 for Mac. This will breath new life in OSX as well as our new CC Pro Video & Imaging apps which use the GPU extensively. To me, the 680 card for Mac is a HUGE value for the price/performance it delivers .



#2 is adding an SSD Boot drive  –  get the largest one you can as prices are nearly half of what they were last year. You’ll also need a Mac Pro drive bracket designed for your specific model Mac Pro (there are a few different models) . This one upgrade alone will make your day as the boot and application launch times are insanely fast. BTW: Another great benefit of OWC SSD drives is native Apple Trim support. 



#3 USB 3.0 card. This one feature will allow you to connect to the latest USB 3.0 drives and Raids for insane transfer speeds when compared to your current clunky USB 2.0. Make sure get a card that requires no additional drivers to work in Mac OSX. The NEWER Tech card I picked out offers 2 USB 3.0 and 2 SATA ports.These cards also currently require that you turn sleep off on your Mac Pro to reduce the possibility of the USB 3.0 drives from disconnecting. Also rememeber to only connect USB 3.0 drives & 3.0 hubs to these ports . Use your built in USB 2.0 ports for everything else like keyboards , Apple display USB, mice, trackballs, controllers. (yes, it’s a common mistake that I see all the time)


AL ram

#4 Max RAM . Since you are taking the time to keep you old Mac Pro going a bit longer., and if you have not done it already, consider installing 32GB (Max for some models) or more if you can.


Here’s Al’s comment after his upgrade.

“It was getting to a stage where my long-serving Mac Pro was taking a long, long time to get up in the morning, and having spoken to a lot of customers who have breathed new life into these machines without forking out for something brand new, I wanted to try it myself. Dave helped me identify what I needed, and Cloud (my cat) did the install with my supervision. He’s pretty mean with a phillips screwdriver. Now the machine boots up in less than a minute and feels brand new. Amazing! “

Al installCloud

My 2 cents:

Dave Helmly Cartoon Bubble

So,  the bottom line is that if you really want to keep your Mac Pro going a while longer running our latest CC apps, then investing in a few parts is great idea.

One thing about Apple and their engineering –  it’s hard to argue that they really do make incredibly long lasting and beautiful hardware and these old Macs quickly become a “trusted friend” to our critical workflows. Which is easy to see why Al was up for my recommendation on extending the usefulness of his 2009 Mac Pro . No wonder the Apple fan base is growing stronger everyday and the resale of older macs remains strong.

4:58 AM Permalink
September 10, 2014

What’s New in the Fall release of Premiere Pro CC 2014.1

2 New videos posted:

Premiere Pro CC 2014.1 and New Features: http://youtu.be/KplBC9qGtQE

A Deeper Look at the GoPro CineForm Codec and Project Manager http://youtu.be/lgPksqpYsXA

El Nuevo Adobe Premiere Pro CC y el Codec GoPro Cineform  http://youtu.be/hgLPbgGo7vc

INtro screenA New Look:

New look We’ve been very busy working with our customers over the past year and watching them edit and taking note (wishlists) .As a result ,  we’ve designed a whole new streamlined interface with a new look and feel .

Search Bins:

search bins With Search Bins you can organize and sort media in large projects automatically for much improved discoverability of your project assets. When you search for items in the Project Panel , you can save the results as a Search Bin. Search once and use continue to use the results – I’ve been using it quite a bit and I’m already hooked. Remember these are just aliases of the original project items and not copied media so there are no worries about duplicated media. Once they are set up, no further user intervention is required: Search criteria are persistent so Search bins update automatically as relevant content is added to the project.

Render & Replace:

Render & replace My prayers have been answered on this feature (more like 10 year meditation) . Now you can right click on a Dynamic Link or other effects heavy clip and Render it in place . Speed up your playback of VFX-heavy sequences by rendering After Effects compositions into flattened video clips. AND YES YOU CAN – always revert back to the original comps if you need to.

Consolidate and Transcode in the New Project Manager:

Project manager Streamline your workflow for large projects with mixed formats. Easily move all relevant files in projects and sequences to reduce you content based on user-defined preferences. Render everything into a single codec for passing on other teams, other systems, or for archiving – while retaining the ability to re-edit projects in the future. With the new Project Manager you can now collect your files and copy them to a new destination in their original camera file format or you have the option to trim your media with handles by selecting a codec transcode that fits your workflow. The New GoPro CineForm Codec is a perfect choice for many workflows.

Multi-Project Workflows:

Multiple Project Open media and sequences from other projects and edit them directly in your current project. Edit or re-use existing clips, cuts and transitions from previous projects. Open as many Media Browser panels as needed – now it’s easy to bring all your work together in one workspace. New GoPro CineForm CodecGoPro_CineForm

[UPDATED 1/2015)

Note: this article has been updated to include changes made to the GoPro CineForm color depth settings and encoding presets in Premiere Pro and Adobe Media Encoder CC 2014.2. (thanks to Tim Kurkoski on the AE team)

When encoding GoPro CineForm movies, two different pixel formats and five different compression methods are available. To change how the GoPro CineForm movie is encoded you need to set the color depth or the quality, respectively. This is a guide for how these settings map to the encoded results.

GoPro CineForm compression quality settings

The GoPro CineForm codec offers five levels of compression quality:

1. Low
2. Medium
3. High
4. Film Scan
5. Film Scan 2

In After Effects, Premiere Pro, and Adobe Media Encoder the compression quality is controlled by the Quality slider in the Export Settings dialog. The range of this slider is 1-5, and the values map to the compression quality settings above. The default value is 4.

For more information about the differences between these compression quality options, read GoPro’sUnderstanding CineForm Quality Settings article.

GoPro CineForm pixel format settings

The GoPro CineForm codec can encode pixels in YUV 4:2:2 at 10 bits per channel, or RGBA 4:4:4:4 at 12 bits per channel.

The encoded pixel format is based on the color depth and alpha channel settings you choose in the Output Module Settings dialog in After Effects or the Export Settings dialog in Premiere Pro or Adobe Media Encoder.

In After Effects:

  • Setting Channels to RGB or Alpha will encode to 10-bpc YUV.
  • Settings Channels to RGB+Alpha will encode to 12-bpc RGBA.

After Effects renders the composition frames at the color depth specified in the Project and Render Settings, and the GoPro CineForm encoder will re-sample the frames to 10-bit YUV or 12-bpc RGBA as appropriate.

In Premiere Pro and Adobe Media Encoder CC:

  • Depth can be set to either YUV 10-bit or RGBA 12-bit.
  • If Render At Maximum Depth is enabled, the frames will be rendered at 10-bpc or 16-bpc before being passed to the GoPro CineForm encoder, which will re-sample the frames to the chosen Depth if appropriate.
  • If Render At Maximum Depth is disabled, the frames will rendered at 8-bpc before being passed to the GoPro CineForm encoder, which will re-sample the frames to the chosen Depth as appropriate.

These settings are utilized by three encoding presets included with Premiere Pro and Adobe Media Encoder:

  • GoPro CineForm RGB 12-bit with alpha at Maximum Bit Depth
  • GoPro CineForm RGB 12-bit with alpha
  • GoPro CineForm YUV 10-bit

regarding previous guidance and presets

In previous guides, the pixel formats for GoPro CineForm were described as being 8-bpc YUV, 8-bpc RGBA, or 16-bpc RGBA. Premiere Pro and Adobe Media Encoder CC 2014.1 included three encoding presets that reflected this.

This information was incorrect. The Depth settings for the GoPro CineForm codec and associated encoding presets have been updated in Premiere Pro and Adobe Media Encoder CC 2014.2, as described above.

In the CC 2014.1 release, setting the Depth to 24-bit (8-bpc) would encode to 10-bpc YUV, and setting Depth to 32-bit (8-bpc with alpha) or 64-bit (16-bpc with alpha) would encode to 12-bpc RGBA.


Additional info is available in the help doc :



There are a few things to note when using this codec outside of the Adobe apps. We use Quicktime as the container for the codec to insure cross platform simplicity. All videos encoded (Exported) with the GoPro CineForm codec will be .movs. This is true for both Mac & Windows. We can also read the GoPro Cineform .avi’s and .mov’s created by the GoPro Studio application. GoPro Studio currently uses a term Archive (see pict from GoPro Studio below) . This is actually the GoPro CineForm codec.

GoPro Export The big question is how people can actually playback the GoPro CineForm file outside of our apps (This includes older Adobe apps like Adobe Encore CS6) . Currently you need to install the FREE GoPro Studio app to get access to the codec for use outside our apps- the app is only 83mb which is about same size any typical decoder . You may already have their app loaded if you own a GoPro camera which is needed to update the firmware of the camera and so on. When you install the app , it loads the additional Quicktime resources to your Quicktime Folder to playback the files. (This will allow older Apps like Adobe Encore Cs6 to read these files and work as expected)  Link for free GoPro Studio SW : http://shop.gopro.com/softwareandapp/gopro-studio-edit-software/GoPro-Studio.html ONE CATCH…….  Mac users currently need to install Quicktime 7 in order to playback GoPro CineForm files outside of our apps. Quicktime X currently does not allow the GoPro CineForm codec and most other 3rd party Codecs to play back their codecs. I’m not sure if or when this might change. Windows users, you only have Quicktime 7 (currently 7.5.5 ) available to you so no issue on Windows. The current version as of today for OSX  for Mac users is Quicktime 7.6.6. Quicktime 7OSX users can still get Quicktime 7 here:  http://support.apple.com/kb/DL923 In reality , most professional editors on the Mac still rely heavily on Quicktime 7 so it should not be a real issue, I just wanted to point it out early. I will say that the fact that Quicktime 7 can open and playback 6K files amazes me (yes, you need an SSD or 2) The current version of VLC 64bit for OSX (2.1.5) WILL NOT playback these files (yet ) .   VLC   Current Error on VLC (as of today) when trying to playback a GoPro CineForm file VLC error New HiDPI support for Windows 8.1 : windows-8 Mac users have had Apple Retina Display support for several months and now we are excited to offer it to our Windows 8.1  users . An updated interface that has been refined to offer users with high resolution displays (like 4K ) a beautiful viewing experience that makes text and graphics much easier to read.( No more 2 point text on 4K monitors) Source Monitor Timeline View: Source Timeline view pancake This is new concept to many – it certainly was to me….. The basic idea is that when you need view a sequence from another project (even on a server)  , you can now use the Media Browser to select the project and it’s sequences. Once selected you can double click on the sequence and it will now open up in the Source Monitor and new type of Sequence will open that is in a read only state (think  – safe mode) . You can now scrub and select areas of the timeline and copy/paste or what our users are already calling the Pancake method (see my video) to drag between timelines.  So simple….. Only when you drag assets from the Read only Source timeline will then import those assets to the project. Only use the clips that you need without the need to import an entire project. One thing I noticed was less of a hit on the server just picking the clips I needed rather than taking up band width by moving files you may not need.   New GPU enhancements: RAW Leverage the power of the GPU with native support for 4K, 5K, 6K and higher content New camera format support : AJA RAW, Canon RAW, Phantom Cine, and Sony RAW. Even 6K RED R3D’s and BlackMagic RAW formats got a nice speed boost. Enhanced Masking and Tracking: bezeir tracking Now you can Easily adjust mask feathering directly in the Program Monitor. You can use the new free-draw polygon pen tool to create complex mask shapes around content and turn any mask control point into a Bezier control point with a single click. Remember that you can also add a tracking to your Bezier path once you select it. Improved Master Clip Effects master clip effect Master Clips effects I’ll admit (as will my counterparts here at Adobe) , that our Master Clip Effect feature that we introduced last April is very powerful BUT, to be honest – it was very hard to tell which clips actually had a Master Clip Effect applied. Now you have 2 ways to tell when they have been applied. In the Sequence , you’ll see a Red line under the FX badge and in the Effects Control Panel (ECP) you’ll notice a NEW tab called “Master” – Improved Send to Audition:Audition Now when you send a clip for audio editing in Audition, the rendered copy is automatically stored alongside the original media file on disk.

Find more details on new features coming soon to Adobe Creative Cloud: http://adobe.ly/1BjpeuV


2:29 AM Permalink
July 25, 2014

Premiere Pro CC 2014.0.1 and AME Update


What’s new

Premiere Pro CC 2014.0.1 Release                             Build 8.01 (21)

Editing Enhancements:

• A Codec column was added to the Project Panel

video codec1




• Sequence Timecode was added as a display option in the Monitor Overlays

• Clip name and Timecode filters can now be set to reference and display information for clips on specified source tracks.

Bug Fixes:

• ‘Async’ asserts could occur when exporting some file types

• Incorrect angles could be shown when separate multicam clips were created with different sort order

• Waveforms could be improperly drawn when nesting a multicam source sequence

• Effects could fail to render within effect mask boundaries

• Garbage could appear around the edge of a layer that had a blur video effect applied and a mask on Opacity

• Masks could offset Gaussian Blur in CUDA mode

• Attempting to move a column to the left of the Name column in the Project panel could break cell selection

• Occasional instance where sequences could never finished rendering

• Relinking to spanned MXF clips could be incorrect

• UI responsiveness could reduce in large projects after relinking

• Exporting merged clips could generate silent or missing audio

• Importing sequences could sometimes fail

• Incorrect timebases could be used on EDL export

• Incorrect field display could occur when using Mercury Transmit with GPU acceleration

• Audio presets were sometimes not working correctly if used with a different format container

• Complex video assets could produce a blurry image every 1 second when encoded into H.264

• Mask Expansion could not be rendered correctly during preview scrubbing on layers that were scaled to 50% or less

• Applying a speed change to a multicam clip could cause the extended duration of the clip to play with no video

• Merged clips that contain clips with sync offsets could display out of sync indicators when used in a sequence

• Crashes could occur during export to QuickTime.

• Masking and Tracking: Brightness & Contrast could be incorrectly displayed in an Adjustment Layer

• File import failures could occur when no assets were selected in the Locate Media dialog

• Asserts and crashes could occur when exporting project to OMF

• Crashes could occur when rendering audio with a locked submix track

• Submixes could sometimes lose audio

• Noise could be heard in submixes with empty tracks

• Source monitor timecode and program monitor overlay could be off from one another in multicam sequences

• Audio overlays for Multicam and nested sequences would only display as audio time units.

• 24p/50p XDCAM EX files were sometimes 1 frame short when smart rendered

• MPEG2 TS files with 6 tracks of stereo audio could only play/show first stereo track when imported in to PPro

• Playing IMX 50 clip freezes video after 12 seconds. Timeout on async asserts in 8.1

• Locking all Audio Tracks could cause the system to slow down dramatically

Adobe Media Encoder CC 2014.0.1 Release                          (Build


• Added support H.264 level 5.2 which allows for 4K outputs up to 60 FPS.

• New Youtube 4K QuadHD Preset (3840×2160)

Bug Fixes:

• Improved DCP Color Calibration

• Fix for blurriness issues in complex H264 encodes

• Fix for XAVC encoding failures for assets with no audio

Prelude CC 2014.0.1 Release

• Fixes a bug with the trial usage


Download Updates:

**Note** always use the Creative Cloud app to help keep track of updates new CC versions and only use these links if you need to install updates offline.


Premiere Pro http://www.adobe.com/support/downloads/product.jsp?product=98&platform=Macintosh

AME http://www.adobe.com/support/downloads/product.jsp?product=160&platform=Macintosh


Premiere Pro http://www.adobe.com/support/downloads/product.jsp?product=98&platform=Windows

AME http://www.adobe.com/support/downloads/product.jsp?product=160&platform=Windows

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