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Get a sneak peek at the brand new features and enhanced workflows Adobe will showcase next week at NAB Show 2016.
The next release of Adobe Premiere Pro CC and Adobe Media Encoder CC brings exciting new media management features that give you greater control over the handling of your files during the ingest process and allow for more flexibility when working with very large media, enhancements to the Lumetri Color tools, and powerful support for new VR video workflows. For all the details, read more here. Headed to NAB Show 2016? Stop by the Adobe booth (#SL3910) for a demonstration of the all the new features and more!
We’re also unveiling a new product blog today. As workflows between products become more integrated, so too shall the blog spaces. We’re excited about a new section of the Creative Cloud blog dedicated to Video & Audio tools. Subscribe now to get updates on the latest news, interviews, and more about the Adobe Creative Cloud video and audio toolkit: http://blogs.adobe.com/creativecloud/dva/
Alongside last week’s updates of After Effects and Premiere Pro came a new version of Adobe Media Encoder, 2015.2. You can find this release in the Creative Cloud desktop application.
This release addressed several issues, details of which appear below:
- The application could crash on shut down when used on a system with an AMD Phenom II processor.
- J2K exports with an odd-numbered frame width could fail.
- Issues were encountered when directly importing After Effects compositions.
- The Generate Timecode effect could incorrectly change the start timecode after the frame rate was changed.
- XDCAM 35 exports could fail when smart rendering was enabled.
- Encoding could fail when importing projects containing the ‘/’ or ‘\’ symbols in their name.
- Exporting to H265 media less than 64 pixels across could cause a Debug event.
- The installation wording for HEVC and Dolby was not clear.
- Incorrect audio could be inserted in areas of a sequence where audio was not present.
- Smart rendering could cause unexpected results.
- Corrupt frames could occur in exports to MXF HDCAM 422 when using smart rendering.
- Some Panasonic 50i/60i media imported with incorrect frame rates.
- H265 exports sometimes encoded incorrect duration and frame rates
- Older AMD systems (e.g. Athlon) could not utilize QuickTime.
- 4K projects featuring synthetics or Gaussian Blur could fail to encode, and subsequently cause crashes.
- Setting the Start Timecode could give unexpected results.
- Videos that were created by Skype Video Recorder were importing out of sync in some cases.
Today we are releasing an update to Premiere Pro CC which contains multiple bug fixes, and is recommended for all users. Creative Cloud members and trial users will be able to download and install these applications today using the Creative Cloud desktop application, or online from http://www.adobe.com/creativecloud.html. This update does not require project files to be updated.
Alongside the fixes, which are listed below, a new High Quality Playback option has been added to the playback settings. In previous releases, Premiere’s playback settings only gave users fractional resolution choices, and playback was optimized for real time playback performance. At the default settings, frames typically have a slightly softer look during playback vs. pause, even when both are set to full resolution. Toggling on the new High Quality setting can provide a smoother viewing experience, where playback better matches the image quality of frames when paused. High Quality playback may result in dropped frames depending on the media and hardware configuration, and most users will find the default settings are still the best choice for real time playback.
Fixes in Premiere Pro CC 2015.2 address the following issues:
- Adobe Stock and CC Libraries could not be used by users who connect to the internet using proxy servers.
- Premiere Pro could not launch on Windows systems with AMD Phenom 2 processors.
- Users of Wacom tablets could experience interface lag.
- Multiple fixes with Adobe Stock support.
- Dissolves displayed incorrectly on OS X El Capitan when working in CUDA mode.
- Crashing issues when Warp Stabilizer re-analyzes.
- DNxHD MXF import sometimes failed.
- Titles could not be imported via the Import dialog on Mac.
- Playback could stop when audio input was set to digital on Mac.
- Synchronizing by audio waveform could give inaccurate results.
- Double clicking a clip or sequence when the Project panel is in icon mode did not open the item.
- Soft Subclips could appear with black thumbnails in the Project panel.
- Rendered files sometimes did not maintain sequence start time.
- A crash occurred with importing .wav files from Fostex DC-R 302 recorders.
- Moving the info panel could cause a crash.
- AVCi100 OP-Atom MXF files from Avid displayed incorrectly.
- Audio drop-outs occurred on export.
- The final frame of a nested sequence displayed incorrectly when using optical flow with GPU enabled.
- Merged Clips could become corrupted when round-tripping via FCP XML.
- PSD files caused Premiere Pro to stop responding when closing a project.
- Live Text Templates with more then one parameter often lost render previews.
- Sync Settings did not respect system proxy settings on Windows machines.
- Specular highlights corrupted when exporting to non-PQ J2K files in HDR workflows.
- Merged Clips dropped into a sequence were unlinked.
- Premiere Pro project names incorrectly permitted the back and forward slash characters.
- Render files did not travel with transition and analysis data.
- Text layers in Live Text Templates displayed with jaggy edges.
- XML files exported from FCP 7 could show as corrupt sequences.
- Incorrect fonts were displayed when importing an XML from Annotation Edit software
- Reverse playback could occasionally not work.
- Panasonic 50i/60i .mp4 and .mov displayed incorrectly.
- Premiere Pro crashed if the preferences folder was set to be read only on Mac
- Exporting to QuickTime with MPEG-4 Enhanced Low Delay Audio could result in an Error Compiling Movie dialog.
- GPU playback and rendering failed with sequences containing the Track Matte effect.
- The About dialog showed an incorrect version number.
- Crashing could occur with AJA 12-bit HDR output in software mode.
- IMX 30 full-frame anamorphic exports were incorrectly exported as 4:3.
- Several situations where crashes could occur have been resolved.
Destination Publishing allows you to render and share video to popular web locations – giving you a super-fast delivery system for public or password protected content. Whether you are posting it to your favorite social media site or sharing it to your clients via an FTP server, Adobe Premiere Pro and Media Encoder have you covered.
As of the Fall 2015 release of Creative Cloud, you can publish your videos to 5 different destinations:
- Adobe Creative Cloud
We will cover each of these options in greater detail below.
Setting up the encode
Before you can publish to any of the supported destinations, you will first need to set up your publishing settings.
To access the publishing settings:
- Select a file or sequence in Premiere Pro to be exported and choose File > Export. This will bring up the Export dialog.
- Apply a preset or choose your export settings manually. Premiere has presets for Facebook, Vimeo, and YouTube.
- Click on the Publish tab. You will see a list of all the available services you can publish directly to.
One of the new features in the recently released Premiere Pro CC 2015.1 is the initial support for High Dynamic Range or HDR workflows. You might not be working in HDR just yet, but with the technology being adopted at a breakneck pace, Adobe tools have you covered for when you want to start working in this exciting new area. In this post, Adobe’s own Principal Color Scientist Lars Borg takes us through everything you need to know about HDR.
Bright lights coming to a screen near you
High Dynamic Range (HDR) presentation technology is rapidly evolving in the TV industry. Viewing of HDR will be far more compelling than Stereo 3D, Ultra-High Definition (UHD) 4K high-resolution, or UHD wide color gamut (WCG). By Christmas, several vendors will have HDR-capable TV sets available, most of which will use local dimming technology, enabling peak luminance above 1000 candela per square meter (the SI unit for brightness), while still meeting government-mandated power restrictions. Netflix, Amazon, YouTube are preparing HDR content and HDR streaming. Dolby, Philips, Technicolor, Samsung are offering HDR-to-SDR color conversion technologies. There are many standards to choose from for HDR display transfer functions (such as SMPTE ST 2084), larger display color gamuts (DCI P3 or Rec. 2020), and better media compression (HEVC/H.265). However, unifying broadcast standards defining complete systems (such as Recommendation ITU-R BT.709 that defined our current HDTV system 20 years ago) are still missing. And a massive amount of industry education and re-tooling will be needed to deliver fully on the promise of HDR.
Many cameras are HDR-ready. Thanks to advancements in sensor technology, cameras from ARRI, Blackmagic Design, Canon, Sony, and others now support up to 16 stops of dynamic range in a single frame capture, needing no tricks with multiple exposures. Although several standardized file formats such as TIFF or OpenEXR are HDR-capable, today this content is often captured in proprietary formats such as raw or log. Also missing are low-power, high-speed, high-quality intra-frame codecs. VC-5 (SMPTE ST 2073), of Cineform fame, might be a candidate.
Premiere Pro CC 2015.1 offers expanded support for multi-touch devices and screens like Microsoft’s Surface Pro, along with improved gestural support for Apple’s Force Touch track pads. In this release, we focused on delivering a basic rough-cut workflow using touch. Let’s step through this workflow, starting with the workspace bar at the top of the application screen, which offers an easy way to switch workspaces with the tap of a finger.
In this example, we’re using the Assembly workspace to generate extra room for large thumbnails, so you can work directly with your clips without having to load them one by one into the Source monitor. read more…
How do I apply it?
For information on where and how to apply Optical Flow interpolation with speed changes and time remapping, see this article: https://helpx.adobe.com/premiere-pro/using/duration-speed.html
What are the benefits?
Optical Flow time remapping is an exciting new feature for Premiere Pro CC 2015. It enables users to achieve smooth speed and framerate changes by interpolating missing frames. Here are some best practices and advice about what to expect when using Optical Flow interpolation with your own footage.
Optical Flow interpolation is ideal for modifying the speed of clips containing objects with no motion blur that are moving in front of a mostly static background that contrasts highly with the object in motion.
Today we are thrilled to be releasing the very latest version of Premiere Pro CC, which is accompanied by brand new versions of After Effects, Adobe Media Encoder, and Audition, alongside the introduction of the much-anticipated Android version of our mobile editing application Premiere Clip. Read about this entire release of Adobe’s video and audio applications here, and learn about all the great new versions of the Creative Cloud applications here.
Creative Cloud members and trial users will be able to download and install these applications today using the Creative Cloud desktop application, or online from http://www.adobe.com/creativecloud.html.
Please note that the 2015.1 version of Premiere Pro will overwrite your 2015.0 installation. Also important to note is that 2015.1 requires a revision to the project format and as such projects saved in 2015.1 are not compatible with prior versions of Premiere Pro CC.
The 2015.1 release of Premiere Pro CC contains all of the amazing new features we previewed at IBC in September, including new ways to edit with powerful touch and gestural support, enhanced support for UltraHD/4K+ workflows, initial support for High Dynamic Range (HDR) technology, amazing new Optical flow time remapping, and the ability to search Adobe Stock directly from the Libraries panel. Adobe Stock now also introduces an extensive catalog of over one million royalty-free video clips, which can be previewed and downloaded directly in Premiere Pro. This release also brings official support for OS X El Capitan.
In addition to the significant number of new and enhanced features, Premiere Pro CC 2015.1 contains extensive bug fixes and performance optimizations, a full list of which is available here.
Alongside the key features described above and in the original blog post, there are multiple other minor improvements, a full list of which appears below.
- Tabbed panel groups can be stacked vertically in a column for Lightroom-style one-click access.
- The Start screen has been redesigned.
- Certain timeline actions such as snapping will provide haptic feedback on supported Mac trackpads.
- Thumbnails in the Project Panel can show the effect of applied Master Clip Effects and Source Settings.
- A keyboard shortcut (Command/Control-backslash) has been added to hide the application title bar.
- New lens distortion removal presets have been added for GoPro HERO4, Vision 3, and Inspire 1 cameras.
- Sound timecode and roll can be displayed in the sequence overlays.
- Multi-Camera angles can be arranged across multiple pages.
- The Video Limiter effect can be included in an export preset to keep video levels safe.
- A new effect, SDR Conform, has been added for tone-mapping HDR content.
- A preference has been added to shift clips that overlap the trim point during ripple trimming.
- Sequence timecode can be shown in the marker panel.
- Grid lines have been added to the Curves in the Lumetri panel.
- Indic languages are supported in the Titler.
- Multiple improvements to Merged Clips have been added.
- The Transform effect has been GPU accelerated.
Overview of What’s New in Adobe Media Encoder CC 2015.1
If you have a Creative Cloud membership, you always have access to the latest version of Adobe Media Encoder. Go to the Creative Cloud site to download applications or to sign up for Creative Cloud.
Expanded UHD Support
Media Encoder will offer Expanded UHD capabilities with the addition of support for XAVC Long GOP, DNxHR, and the new HEVC (H.265) codec, which, at 60% the size of comparable H.264 files, is ideal for delivering pristine 4K content online.
Publish to Facebook
Render and publish content to Facebook in one fell swoop. Easily showcase work, promote projects, or support social media campaigns on a platform where something in the order of 3 billion videos are viewed each day. Along with Facebook support, Destination Publishing also allows you to render and send video to Creative Cloud, Vimeo, and YouTube, giving you a super-fast delivery system for public or password protected video content.
Improved Image Sequence Support
After Effects artists rejoice! You will soon be able to automate rendering for image sequences from After Effects (and other 3D apps) with new Watch Folder support for OpenEXR. Streamline your workflow for frame-based content and offload rendering so that you can continue working in After Effects.
Automatic Loudness Correction
Loudness standards are now critical for the delivery of digital content. All you need to do is check the box in the next release of Media Encoder to apply automatic Loudness correction and deliver content with confidence, knowing that your deliverables meet broadcast standards.
Ensure that you meet changing broadcast content requirements with flexible MXF channelization. Export audio within single or multiple audio tracks.
The IRT compliance in Media Encoder CC ensures that your content conforms to German broadcast standards. IRT (Institut für Rundfunktechnik) publishes the technical guidelines and specifications of Germany’s public broadcasters. There are six MXF Profiles for HD program material as specified by ARD, ZDF, ORF and ARTE. There are presets in Adobe Media Encoder that correspond to each of these profiles.
Under the Effects tab you will now find SDR Conform and Video Limiter effects to give you even more control over the look of your final output’s color.
And there’s more
The next Media Encoder release also included IMX audio options to create PCM encoded audio (instead of AES3) and 16 channel export, new Time Interpolation settings for improved frame-rate conversion, and the app icon in the dock/taskbar will now show the progress of your encodes.
Notable bug fixes
- XAVC Intra preset names have been updated.
- Various improvements to DNxHD
- Improved speed when smart rendering sequences with many cuts
- Official support for OS X El Capitan
- Improvements to MXF OP1a – Match Source (Rewrap) functionality
- Many workflow and stability improvements
We are thrilled to announce that Premiere Clip 2.0 is now available for download in the App Store. The new release of Premiere Clip includes a number of enhancements to make video editing on the move easier, faster and more fun. Check out all that’s new in the latest release!
New and improved features in Premiere Clip 2.0
- Automatic video creation
- Sync to Music
- Lightroom on Mobile integration
- Improved editing and a new streamlined user interface
Automatic video creation
When creating a new project, you will now have the option for automatic video creation. Select your photos and videos and Premiere Clip will automatically create a video synced to music. You can pick your own soundtrack, choose a different soundtrack start point, adjust the pace of transitions, or re-arrange media, so that in minutes, you have something to share.