“Snapped: She Made Me Do It” reality crime series cut exclusively with Adobe Premiere Pro CC
Joke Productions, founded by the husband and wife team of Biagio Messina and Joke Fincioen, creates and executive produces unscripted TV shows, documentary series, and reality television for major networks. Like many people in this industry, they started working in a one bedroom apartment. Today, they operate a 7,000 square foot studio located in Hollywood, California near Universal Studios.
After working with Final Cut Pro 7 for years, the company switched to Adobe Premiere Pro CC to edit its new Oxygen series, Snapped: She Made Me Do It. Joke Productions workflow is now 100% Adobe Creative Cloud and the team has declared Premiere Pro CC “reality ready.”
An interview with the creators of Pop Up Archive, a cutting-edge solution that makes sound searchable
In 2012, Pop Up Archive co-founders Anne Wootton and Bailey Smith set out to push media forward. As journalists they’d seen firsthand the challenges facing audio producers. While pursuing their Masters degrees at the UC Berkeley School of Information with a focus on uniting technology and media, they identified the need to search, organize, and archive audio. We sat down with Anne Wootton and software engineer Shindo Strzelczyk, to learn how the team developed an award-winning solution for this industry need.
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.
Short film edited with Adobe Premiere Clip and Adobe Premiere Pro CC workflow
Rise and Shine Films describes the video content it produces as “lovingly handcrafted videography.” In addition to client projects such as commercials and corporate videos, the small team also enjoys working on its own projects and trying out new video solutions. Recently, they created the short film Balloon for the Ikan Fly Smartphone Film Contest. The sweet film about a little girl who dreams of flying won the grand prize in the competition, and was also the Best Cameraphone winner in the My RODE Reel 2015 international short film competition.
Videographer and photographer interweaves still and motion mediums with Adobe Creative Cloud
Michael Bonocore didn’t come from a photography or visual arts background. That’s nearly impossible to believe, given his accomplishments—first with photography, and more recently with video. He humbly chalks up his success to hard work and luck, but it also has a lot to do with talent and passion. He specializes in travel photography, telling stories using both photos and video and relying on an Adobe Creative Cloud workflow.
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.