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Adobe Premiere Pro CC and other CC Suite 2021 products
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  • Fun things that trial versions are available after registering at cloud -

  • I like this Adove approach with renting software. If it is your tool, sum is very reasonable. Hope improvements will be intoduced and implemented each month or two.

  • it seem that premiere, photoshop and after effects can be cracked.

  • it seem that premiere, photoshop and after effects can be cracked.

    And? We are not discussing pirated soft here.

  • Anyone test whether the "digital rain" problem is fixed in the new version?

  • Photoshop CC is fast, but so far everytime I try and open a CS6 .PSD, it crashes.

  • I've downloaded the Adobe CC upgrades, but so far only had a chance to check out Photoshop CC. It uses Adobe Camera Raw 8.0, which has the same user interface as PS CS6's ACR 7.x. No significant improvement, AFAIC - ACR 8 still refuses to allow you to set Process 2010 in your custom default settings. The Process 2012 it nags you with uses covert auto-ranging to adjust your RAW exposure settings - perfect for casual users of Lightroom 4. I am sticking with PS CS5.5 and ACR 6.7.

  • It doesn't appear to have fixed the digital rain issue. I will have to double check, but I had some old original footage that still showed it that way even after transcoding. I am not sure if I tested it with the new DNxHD OP1a preset though. I will verify that this weekend.

  • Is it just certain hacks that cause the digital rain thing? I've shot a mix of Moon T5 and Sanity 5.1 lately and haven't had issues with either.

  • Unsupported Nvidia's Cuda are "supported" in Premier CC but even the old method doesn't work in AE CC. Anyone get Cuda working in AE CC?

    Update: Works

  • Warning!

    Premiere CC is slow as hell! On my laptop with i7 3610QM 16GB Nvidia GT650M 2GB it cannot scrub timeline. And it takes between one or two seconds to update the program monitor after jumping to a random point in timeline. And I have mercury/cuda enabled.

    Meanwhile Premiere CS6 has no problem scrubbing timeline in real time.

    According to this experience - DO NOT uninstall CS6 just yet as it seems you cant install it again from the cloud.

  • @Jasketti Thanks for the heads up. Hopefully they'll fix these glitches soon. Will probably stay on CS6 for now. Thanks

  • @Jasketti, strange, I'm not having that problem at all on my laptop (2010 Macbook Air) or desktop (2008 MacPro). I would make sure it's not just a problem with the footage type or some other setting. Or maybe just an unlucky glitch with your hardware config. But definitely not being experienced across the board. However, I agree it's wise to leave CS6 as a backup for now.

  • You can reinstall CS6. I just did in order to get Encore CS6 back. From the Creative Cloud application, click the More Information link under Adobe Premiere Pro CC. That brings you to the Premiere Pro CC web site.. on The left side is a Drop down box...change it from Adobe Premiere Pro CC to CS6 then click Download.

    I haven't had the rain issue with Sanity hack, but in the shadow areas I do get the rain from other hacks like Flowmotion. If I use something other then Adobe Media encoder to transcode to DNxHD, then the rain artifacts do not show up.

  • This is just another way to suck money out of your wallet. The constant and permanent monthly fee ends up making the product more expensive than a pay-once disc version, not less, over the life of the product.

    And there was no physical media stamping and no packaging expenses on Adobe's part justifying the added costs to consumers except greed.

  • @JohnTollwannabe

    We have separate topics for such discussion, here it is only product related things.

  • The complete list of newly added features in this Premiere Pro CC update is below:

    1. Anywhere for video support
    2. Duplicating a title in a sequence creates a new, unique title, which can be independently edited from the original.
    3. Lift and Extract can be used when only an In or Out point is set (if only an In is set, Lift/Extract will use the end of the sequence as the Out point; if only an Out is set, the beginning of the sequence will be used for the In point).
    4. Copy, Cut, and Clear commands work between In and Out points on targeted tracks when no clips are selected.
    5. When a sequence is loaded in the Source Monitor, keyboard shortcuts can be used to navigate to edit points (Up/Down keys by default).
    6. Keyboard shortcuts can be used to clear In/Out points on clips in the Project Panel.
    7. The Enable Clip command now works as a toggle when multiple clips are selected, such that any disabled clips become enabled and vice versa.
    8. The Match Frame command will prioritize a selected clip over a targeted track.
    9. The Relink command can now be used on a sequence containing offline media.
    10. The Export EDL dialog now contains the option to include or exclude Transitions and the Key Track.
    11. The Reveal In Project command now works from the Source Monitor.
    12. A preference has been added to select whether or not playback jumps to the beginning of the Timeline or a Clip once the end has been reached.
    13. A button has been added to the Timeline Panel to globally Link or Unlink all clips in the sequence.
    14. An assignable keyboard shortcut has been added to enable toggling between the Source and Program Monitors.
    15. The Reveal In Finder command can now be used on clips in a sequence..
    16. A default start timecode value for all new sequences can be set in the Timeline panel.
    17. Clips can now be dragged from the Finder or Explorer directly into the Source Monitor.
    18. The Match Frame command now works on Nested or Multi-Camera Source Sequences, first matching to the source sequence, then stepping back further to the original master clip used in that source sequence.
    19. Offline audio clips are now displayed in red, matching offline video clips.
    20. The Source Settings dialog can be accessed by right-clicking on Clips within the Timeline Panel.
    21. A preference has been added to allow the Timeline Panel to be automatically focused after an Insert or Overwrite edit is performed.
    22. The Auto-Save dialog is suppressed during editing, and auto saves will not occur if no changes have been made to the project.
    23. The Tone Settings dialog allows users to set the amplitude and frequency of the Bars and Tone synthetic clip.
    24. Closed Captions are displayed on thumbnails in the Captions panel.
    25. Options have been added to the Automate To Sequence dialog for Still Clip Duration, giving control over whether still clips use the In/Out range or a specified number of frames per clip (for timelapse workflows).


  • Premiere 7 / CC shows the "diagonal rain" while Premiere 6 / CS does not. Same footage! Tested on a Macbook Pro with AMD Radeon 6750, OS X 10.8.4 I used GH2 footage from mid-March 2013 for testing. I am not sure which hack it was, I guess one of Driftwood´s "Moons".

  • Is anyone else getting crashed with Premiere CC. I'm editing .MTS driftwood Moon 7 files... merged with 4 channels of synced audio. Its crashing on my new imac and my macbook pro. Performance is sluggish. I'm wondering if converting to prores might be a better way to go.

  • @Imaginate Are you using a converted CS6 project? I converted a big project when I went to CC and it became very unstable with crashes every few minutes. I finally stabilized the project by starting a new CC one from scratch.

  • @SuperSet Mine were original CC projects, I think its the combo of higher bandwidth hacked footage and merged audio files thats causing the problem. I'm going to try some work with the same footage converted to prores.

  • As part of Creative Cloud, we are able to bring exciting new features to Adobe Premiere Pro far quicker and more regularly than ever before to help you stay a step ahead. Less than 4 months after the CC releases shipped, Creative Cloud will be adding over 150 new features that greatly improve video workflows, with significant new updates to Adobe Premiere Pro CC, After Effects CC, SpeedGrade CC, Prelude CC, Adobe Media Encoder CC, Adobe Story and previewing a brand-new iPad app, Prelude Live Logger. We’ll be demoing these new features at the IBC tradeshow this week, and they will be available in Creative Cloud on October 15, 2013. Learn more about all the new Video releases here, and see an overview video of the new features in Premiere Pro here.

    Our forthcoming October 2013 release of Premiere Pro CC brings a slew of new features to allow editors to work faster than ever, at higher fidelity, with previously unimagined access to rich color grading and processing tools.

    Color is becoming increasingly important throughout an entire production workflow, and the addition of the Lumetri Deep Color Engine in the June 2013 Premiere Pro CC release gave editors the ability to work with beautiful SpeedGrade grades right inside the application. With this release, SpeedGrade has fully implemented the Mercury Playback Engine from Premiere Pro, and a brand new workflow between the two applications is being introduced, namely Direct Link. With Direct Link, editors can save a project in Premiere Pro and then open the sequence they were working on directly in SpeedGrade, with no need to deal with interchange formats or any kind of conversion. SpeedGrade then opens the sequence in a familiar timeline that more closely matches how you work in Premiere Pro. You can access all the clip edit points, transitions, and layers, using the same track layout as Premiere Pro. From there, create your grades, and then reopen the same project in Premiere Pro with all your color work fully intact. This workflow uses no interchange formats and no importing or exporting – it’s just the same Premiere Pro project moving between the two applications. See a quick demo video here.

    Responding to rapid changes in the industry with the move to Ultra High Definition 4K formats and beyond, Premiere Pro’s outstanding native media support has been given a major boost this release. New native file format support for Cinema DNG, Sony RAW, Phantom Cine, improved MJPG from Canon 1DC, Sony XAVC Long GOP, Panasonic AVC Ultra (Long GOP), 64 bit ProRes decoding (Mac OS X 10.8 or higher only), and support for exporting XAVC up to 4K and AVCi200 is included, and Cinema DNG can be debayered on a supported GPU for even better performance. For the highest resolution, RED Dragon 6K is also natively supported, with full RED color science built in. And if a high-powered system isn’t available, improved capabilities for relinking from proxy media back to full resolution, combined with brand new editable sequence settings, make this kind of work much easier. See a quick demo video of the new format support video here.

    A host of new editing features are included in this release designed to speed up the creative process. The new Monitor Overlays feature allows for critical information to be superimposed in both Source and Program Monitors. Designed to be flexible and customizable, editors can select which metadata is displayed and where, so important information such as clip timecode, edit point indicators and marker comments can be seen at a glance and in context. Other new editing features like single-click frame hold, ripple-deletion of sequence markers, faster maximum JKL speeds (up to 32x), leaner trim icons, drag-drop support for After Effects transitions from popular third-parties like GenArts, new slimmer trim cursors, all add up to this being an essential release for modern editors. See a quick demo video here.

    Multicam workflows have been further enhanced, with easy control over the ordering of angles, and the ability to switch angles on and off, making working with large numbers of camera angles simple. Working with multicam source sequences is also improved, with Premiere Pro now displaying a composite view during the edit, so the multicam view matches the final output, and displays any applied scaling or effects.

    We continue to strive to bring regular, feature-rich releases to Adobe Creative Cloud, and the October 2013 release is a great example of how passionate we are about bringing editors the features and workflows they need to work fast and as creatively as possible in the world of modern production.

    Other new features in this October 2013 release of Premiere Pro CC include:

    • Back button added to Media Browser
    • Sequences have thumbnails that Hover Scrub in Icon view in the Project Panel
    • The Add Edit command overrides track targeting, favoring instead the selected clips under the playhead
    • The Edit To Tape dialog supports JKL shortcuts
    • Negative speeds can be set in the Clip Speed/Duration dialog for reverse playback
    • Audio channel layouts can be selected during QuickTime export
    • The Clip Name effect provides three naming options (Sequence Item Name, Project Item Name, File Name)
    • The Timecode effect automatically matches the Time Display parameter (or timebase) to the source clip
    • Transitions can be pasted to multiple edit points
    • All Effect parameters have individual reset buttons
    • Support for reading captions from MXF files (SMPTE 436M ancillary data track) as well as writing captions to the MXF OP1a format
    • Support for decoding and re-encoding CEA-708 captions.
    • Captions in QuickTime movies can be read regardless of the video codec
    • Caption files with a *.dfxp filename extension can be imported
    • Camera angles in Multicam source sequences can display camera angles as track names or clip names
    • New preference to allow the trim type of a previously selected point with the cursor
    • Improved, GPU accelerated Direct Manipulation
    • Multiple clips and sequences can be sent to Adobe Media Encoder at once


  • I'm glad that speedgrade will be integrated, that was the reason I stupidly bought CS6 and was trapped for several weeks like a cane toad on an Aussie freeway trying to get it to work. I'm assuming me and my fellow toads on the highway of life will not be receiving a free upgrade from toadgrade CS6.

    Captions are important, they should have been included in CS5 at the very least--a lot of people depend on them, and they should be easy to use,

    Here's hoping the H264 encoding will finally get a serious upgrade. I actually would occasionally use the clip timecodes overlays if they they are simple, uncluttered and accurate.

  • During today's Q3 earnings report, Adobe announced that its Creative Cloud software service had passed one million subscribers since launching in June.