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Adobe Premiere Pro CC and other CC Suite 2021 products
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  • @bwhitz exactly. I mean, if you are experienced enough to use raw, you are going to know the tonal range you need. Just set the Kelvin range manually and let the DSP handle it. Theoretically, this would make the files much smaller with minimal loss of quality.

  • Just tried to use the "speech analysis" funtion of Premiere Pro CC ... which actually invokes Adobe Media Encoder to do the job. Well ... not too successful.

    I tested a subclip of a 00:6:13 (six minute+) sequence first ... BIG mistake. Since then, with that bit of footage, no matter what I do it will ONLY "analyze" the 1-minute+ subclip part it first "saw". Not even on another sequence, ditching the cache, deleting the files AME made ... nothing. Apparently, it's ... stuck.

    Next ... this is HORRIBLE at "getting" standard American English ... less than 1/4 of the words that appeared in the text-analysis are actually spoken in the video footage ... which is a simple talking-head two-person interview, very clean sound no other noise.

    I've found that realistically, you need a transcript from Adobe Story to use as a base for the "speech analysis" function ... which will then take the transcript/script and plug it in frame-by-frame to the footage. Wish Adobe had used a better voice-recognition software basis, but oh well.

  • I'm on Adobe Creative Cloud and wanted to ask what does everyone recommend and use for taking a Premiere Project onto BluRay and DVD? I had looked at it over a year ago, and believe Encore was considered the best for quality, but don't know where things are now. Also what kind of workflow do you use going from Premiere all the way thru to BluRay (export settings, going from one program to another etc.)? My goal is maximum image and sound quality. Thanks all!

    @rNeil I have a feeling you may have some wisdom on this topic - are you around by chance?...

  • I use Encore CS6 for DVD. It's included with the Adobe CC... you just have to install the Adobe Premiere CS6 family.

    I have had good luck just exporting out using the default DVD export settings.. Though I do seperate the audio out so I can create 5.1 source without using Surrcode.

    Good luck.

  • @matt_gh2 ...

    @jj4vr had the right comment. Encore CS6 still works about as good as anything, and he's right, you get it through your CC downloader thingie by choosing the CS6 family for "no extra charge". On the Adobe PrPro forum boards there's several threads with the detailed instructions ... just search for "Encore CS6 install" and you should find them.

    As to settings ... yea, the basic presets tend to be what most people use. There is one interesting note ... having "max render quality" clicked tends to WAY slow down the render and often actually just adds other problems. Not recommended and the first few times I tried to make a dvd ... of course I wanted "max quality"!

    Basically, use the presets and jiggle them if you need to change something. And there are numerous threads on dvd quality in the Adobe forums.


  • I would note that after learning how (& why) the link from PrPro to Speedgrade & back works on the CC side of things, my ... that's bloody handy. Takes a few seconds to take a sequence over to Sg to do "dailies" corrections and come back after doing them. You do need to know at least three things:

    1) As this is "done" by having Sg work directly within the PrPro project file, they have put limits on the functions of Sg that can be used during a direct-link. As in, the timeline is LOCKED. You can move forward-back, but you cannot alter it in any way. You can't change any clip parameters as frame-rate, proportion, any of that. You'll have to do that in PrPro.

    2) You can't add grading layers to the timeline in a direct-to-Sg process, as per the note above. If you're going to need a layer above your clips for grading, put one or more adjustment layers over them in PrPro before going over to Sg. Then they're there and you use them as you would a grading layer.

    3) Auto-Save does NOT work during a "direct-link" session in Speedgrade! As this would be "allowing" Sg to change the basic PrPro project, it's not allowed. I found this out the unfortunate way ... and after posting my crash and loss of several hours work and asking why I couldn't find the auto-save files for that session ... found out the comments I just made. As it turns out ... a number of pro grading 'houses' were also watching that thread, and ... well, we realized we all needed to learn to manually save-as every few minutes while grading during a DL session. There's been numerous feature/wish-list requests filed to allow an auto-save-as control.

    As to PrPro to AeFx & back, quite a few of the pro type folks still do a digital-intermediate ("DI") path to use PrPro & AeFx as they find that for more major work tasks, the dynamic link between those two programs bollixes up a bit.

    Then cue it out to Encore to do your dvd, and ... it works pretty nicely. Most of the time, of course. Or they wouldn't need the forums for doofuses like me to ask dumb questions on would they? :)


  • @matt_gh2

    Here's the links ... all from a nifty guy over on the Adobe forum boards who put this and a whole bunch of other stuff like it together, 'John T. Smith' ...

    Using Premiere Pro CC and Encore CS6:

    CS6 is the final Encore

    How to Install PPro/Encore CS6

    -be sure to follow ALL instructions, including ALL of the download instructions that are contained in the site link INSIDE the link above, or you will not get ALL of the Encore content (download PPro/Encore and then TWO more downloads)

    You will then have (for Windows)

    C:\Program Files\Adobe\Adobe Encore CS6\Library

    C:\Program Files\Adobe\Adobe Encore CS6\Library\Corporate

    C:\Program Files\Adobe\Adobe Encore CS6\Library\Education

    ...and so on for all of the folders

    How to use Encore CS6 with Premiere Pro CC (NO Dynamic Link) 6-for-bluray-dvd-and-interactive-video-for-ipadatv-and-mobile-hd/

  • @rNeil Thanks - great info. Much appreciated. I have full CC and Encore CS6 so I'm set. So I should export media and choose MPEG2 Blu-ray, and then open that file in Encore for BluRay authoring? I guess my SD DVD would use MPEG2-DVD for DVD? Goal here is max quality - so if I check max render quality, wouldn't that be the best? (I'm doing a auto-play dvd with no menus and no chapters, so maybe max render quality will work without bugs given it's a simple Blu-Ray or DVD being burned?) Thanks a ton!!

  • There's been several threads involving "max render quality" and though I don't remember the whole shebang, basically ... it tells the software to do a bunch of extra dithering or whatever it is that for the vast majority of material doesn't do anything helpful and yet takes maybe (literally!) 20 times the time to render. And what it does do ... I've forgotten ... but when I read that bit, thought "Well, why did they call this 'max render quality' ?"

    So ... you're welcome to try it with that clicked, but ... not generally recommended. Unless you've got an extra day or so for your rendering-out. :-)

    The other thing is that people keep complaining about the process as for dvd, it renders out two files ... they think they should have only one. Nope, it's two files that Encore then uses to make the dvd/bd.

  • Cool - thanks a lot. Will test now.

  • @rNeil Great tips re Speedgrade. Edit is about to be handed off to colorist for grade in Speedgrade using direct link from Premiere Pro. You had mentioned that adjustment layers should be put over clips in Premiere Pro before doing the link over to Speedgrade. By adjustment layers do you just mean add to the total number of video tracks in Premiere project, or is there a different function in Premiere for adding adjustment layers? Thanks.

    EDIT: Ok - I think I got adjustment layer added with clicking "new item" and selecting adjustment layer. Lol - brain freeze. But here's a legit question!: the colorist got her hands on the Premiere file and starting playing around with the Lumetri Looks that are already in Premiere CC, and likes what she did. My concern is that I don't see the "32" icon next to the Lumetri looks, like you would see with Luma Curve and other effects that are 32 bit within premiere. So my question is this - if you want to use Lumetri looks and want to make sure they are 32 bit, do you need to be within the Speedgrade program, or are those Lumetri looks in Premiere also 32 bit...even though there is no "32" icon next to it in the Premiere effects panel where you select them?

  • @matt_gh2 ... interesting, I'd not noted that none of the Lumetri "looks" listed in PrPro is shown as 32-bit. They're all YUV which I'd been told basically means they're about fine anywhere. After of course a whole lot of technical discussion which I can track at the moment but don't bother to store in the brain. At any rate, I haven't heard anyone having problem with the way they render out. There have been problems when people have had either purchased/custom looks/LUT's that worked within Sg but didn't show up on the footage back in PrPro. I've had that happen once, and was able to copy the specific custom look into the folder that holds all the PrPro native LUT's and it was "there" and used.

    Yes ... new item, adjustment layer. Sorry, didn't mention that specifically.

  • @rNeil Thanks. You are the man!!

  • @matt_gh2 ... I'm a picky precise dude who's made a living from stills for over 30 years, just getting into this DAMN (but ... incredibly addictive!) video "thing" ... realizing he's a total jerk noob ... and hitting the forae out there to learn as much as I can as fast as I can. What one takes, one should give when one can, right?

    I'm living on the handouts of others (professionally speaking) right now. I'd better damn well give out when I can, right? :-)

  • I've been involved in a discussion on Adobe's Premiere Pro forum about the different shortcuts for the same command between different Adobe video products. For myself, between Prelude, PrPro, AeFx, & Sg ... I'd love to have the option to have the shortcuts to move forward/backward by clip/s the same; to move up/down layer stacks the same; to copy & paste settings the same; muting/un-muting audio; jumping from panel to panel; zoom in/out. That's a start.

    Jim Simon came in with some other good ideas. So ... as one of the members there kept haranguing me about my not daring to go into the AfterEffects forum and propose the same thing (apparently the 'real men' there would have my head talking about changing their shortcuts!) so ... that's what I did. Here:

    Y'all are welcome to read that and comment here ... I would dearly love to simplify my workflow even with these little bits.


  • @rNeil I like the idea of same shortcuts - it seems like a natural extension of CC concept. I like the Adobe Creative Cloud, particularly the ability to edit in Premiere, and go into Audition for audio and now Speedgrade for color grading. I know some object to pricing and rental concept, but it works for me. Audition roundtrip quite smooth and it's an easy program to learn. Its quite powerful for a lot things and has worked well for us on current project.

  • Did Adobe fix the integration between SG and Premiere? I tried it a few months ago via Dynamic Link and I saw horrible performance. If I graded a clip, singly, in SG, it worked just fine.

  • @SuperSet

    the integration PrPro/Sg is much better. I'm not going to say it's a perfect one for every machine, but ... it's working pretty good for many of us. I'm finding it wonderfully simple ... decide I want to grade something, take it over to Sg, work a bit ... pop it back to PrPro and keep working.

    There are (as noted above) a few caveats ... you have to make "adjustment layers" in PrPro to use them as grading layers over in Sg (as Sg isn't allowed to add timeline stuff to a PrPro project) and you need to do manual save-as iterations while working during a 'linked' session in Sg as there is no auto-save during a linked session.

    But ... it is working quite well for me, and I know many others. I haven't done anything in Sg "native" in a couple months, except once just to check something for someone on the forum.

  • @matt_gh2

    They're still working on better integration ... but yea, it is getting to be quite a nice group of programs to work in. Though I'm still learning new things every bloody time I sit down to work ... wow, this video stuff has complifications to its simplifications. Sheesh.

  • For some reason the PrPro to SG link doesn't work for me. Always crashes on the SG splash screen. I've yet to find out why. I'm running an i7 24GB on Win7. GPU is a GTX295, which is older but still comparable to a 670 in performance. If anyone has any advice it would be appreciated.


  • Speedgrade doesn't always work predictably with every video card ... and price of the card isn't necessarily an "indicator" of potential problems. So ... this could be that Sg is choking on your card's drivers or settings, or another reason that Sg crashes on splash screen is that there's a 'damaged' cache that it accesses and goes bloops.

    So ... first thing, find the Sg cache and manually empty the whole thing. If that doesn't work, the Adobe Speedgrade forum has quite a few threads on this, so search for crash on opening or on splash screen. There's a number of possible fixes there.

    Mine crashes on splash almost every time I open it for the first time for a day. Yet ... the computer is left on 24/7; go figure. I immediately 'open' it again, and it always pops up into place. Of course, nearly all my Sg work is on a direct-link too.


  • I got sick of bug-testing Adobe CC Beta releases and downgraded to CS5.5. Photoshop 5/ACR 6.7 works with RAW photo file formats up through GH2, Canon 5D Mk3, Nikon D5100, and Nikon D800, so don't expect me to buy any new DSLR's, until the day they all start using DNG.

  • The Master Clip Effect setting (I assume it's going to be toggle-able) will be very handy for some edits. Having better tracking inside of Premiere will be very useful as well. And for people who do a lot of lower thirds, having editable text for AE comps will be very nice.

    I'm very curious to hear more about the DCP export implementation in Media Encoder. If it can generate compliant DCPs for no added cost, that seems like a pretty big deal to me.

    And for AE, the better spill suppression and key repair look great for hair detail etc., so long as it doesn't necessitate a lot of futzing with multiple keys (for hair, for torso, etc). The daily greenscreen work I do for the web tends to be too fast of a turnaround to really get into multiple keys as a matter of course.

    Only major bummer is it appears they haven't done anything more to implement the CDNG RAW files from the BMPCC, or having Camera RAW tools within Premiere.