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Adobe Premiere Pro CC and other CC Suite 2021 products
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  • Adobe (Nasdaq:ADBE), the leader in creative software, today announced plans to significantly update Adobe Creative Cloud video desktop apps and Adobe Anywhere for video. These new capabilities, coming soon, build on Adobe’s industry-leading integration across video workflows enabling video professionals to create, collaborate and deliver high quality productions across multiple screens. Key updates include powerful new media and project management tools in Adobe Premiere Pro CC; a refreshed user-interface across all Adobe video desktop apps; and more streamlined production workflows empowering video professionals to edit more efficiently.

  • Whether the audience is conscious of it or not, it is Fincher’s careful structuring of narrative and imagery that makes his films so powerful. Gone Girl is the first Hollywood feature-length film cut entirely in Adobe Premiere Pro CC.

    Fincher is a director known for pushing technology to the edge. To help realize his ambitious vision for Gone Girl, he shot the film with a RED Dragon camera in 6K and assembled a top-notch post-production team. Two-time Academy Award winner Kirk Baxter, ACE, edited the film with help from an editorial department that included Tyler Nelson, his long-time assistant editor. Peter Mavromates worked as post-production supervisor, while Jeff Brue of Open Drives was the post-production engineer. Fincher had worked with the group before, but the decision to use an integrated Adobe workflow with Adobe Premiere Pro CC at the hub, was a first for the tech-savvy director.

  • PR

    At Adobe MAX 2014, the world’s leading creativity conference, Adobe (Nasdaq:ADBE) today announced it is shipping a milestone release of Creative Cloud that transforms how creatives work across desktops and devices. This major release includes significant feature updates to 13 essential CC desktop tools that link to a new family of integrated mobile apps. In addition, the latest versions of Photoshop CC and Illustrator CC include breakthroughs in Touch support for Microsoft Windows 8 and Surface Pro 3. Central to this release is an all-new Creative Profile that drives deep connections between CC desktop tools and 9 new mobile apps that extend the power of the Photoshop, Lightroom, Illustrator and Premiere franchises onto mobile devices.

    Adobe also launched a public beta of a Creative SDK that enables the delivery of mobile apps that connect to Creative Cloud, kick-starting a new era of third party app innovation for creative developers. The company also introduced Creative Talent Search, connecting creatives around the world with job opportunities from top brands and companies. These innovations and more will be demonstrated in today’s keynote session at Adobe MAX, beginning at 9.30am PT. To view the event, via a live stream, visit:

    "The pace of innovation continues to accelerate with Creative Cloud and today we are introducing a new family of mobile apps that are deeply integrated with flagship CC desktop tools, like Photoshop and Illustrator, and taking mobile devices into the creative mainstream,” said David Wadhwani, senior vice president, Digital Media, Adobe. “Also, new capabilities, such as Creative Talent Search, show that Creative Cloud is evolving into an increasingly powerful resource for our millions of members.”

    All-New Creative Profile is Member’s Creative Identity Within Creative Cloud
    This Creative Cloud release includes a new Creative Profile that connects creatives to their work, to the assets they use to create, and the communities that matter to them - no matter where they are. Files, photos, colors, brushes, shapes, fonts, textstyles, graphics, and any other assets are always at their fingertips. This new Creative Profile moves with creatives from app-to-app, and device-to-device, so assets automatically appear when they need them, in the right context.

    Mobile Apps Deliver New Creative Cloud Connections

    This release includes radical new connections between essential CC desktop tools and a new family of mobile apps that extend the power of Photoshop, Illustrator, Premiere Pro and Lightroom onto mobile devices. The line-up, includes:

    • In the Photoshop family, Photoshop Sketch lets creatives draw with new built-in expressive brushes and enables an integrated workflow with Photoshop CC and Illustrator CC. Updates to Photoshop Mix extend precise mobile compositing capabilities and now includes enhanced integration with Photoshop CC, as well as a new iPhone version. A new Lightroom Mobile app builds on integrated desktop and mobile workflows and includes features to allow clients, friends or family to select favorites and leave comments for photos shared online; and GPS information from iPhone photos now syncs with Lightroom desktop.
    • In the Illustrator family, Illustrator Draw (formerly Adobe Ideas) gives users access to their favorite vector drawing tools and features in a modern, streamlined interface, high-fidelity integration with Illustrator CC and enhanced support for Adobe Ink and Slide. Illustrator Line, a precision drawing app, gives creatives new features for perfectly distributing shapes as they draw, plus the ability to send sketches to Illustrator CC, where they have full access to their original vector paths for editing. •In the Premiere family, the brand new Adobe Premiere Clip app easily transforms the video shot on iPhone or iPad into edited videos that are simple to share. Aspiring videographers can then send their compositions to Adobe Premiere Pro CC for advanced editing and finishing.

    Adobe also introduced a new category of “capture” apps to create designs and bring them into creative workflows:

    • Adobe Brush CC lets designers craft unique brushes, on iPad or iPhone, to use in Photoshop CC, Illustrator CC or Adobe Illustrator Sketch. Any photograph can be made into a brush, so creatives can quickly and playfully design beautiful, high-quality brushes that can range from photorealistic, to organic, painterly or graphic.
    • Adobe Shape CC is a simple, unique and fun way to capture and create shapes on iPhone or iPad, wherever inspiration strikes. A high-contrast photo of anything - a chair, a pet, or a hand-drawn font - is converted into vector art that can be used immediately in Illustrator CC and Adobe Illustrator Line via Creative Cloud Libraries.
    • Adobe Color CC (formerly Adobe Kuler) allows creatives to capture colors and save them as themes that are immediately available in other Adobe applications, including Illustrator CC and Photoshop CC.

    These mobile apps work with all Creative Cloud plans, giving everyone -- from freelancers, to creatives in large organizations -- access to all the benefits of a deeply integrated mobile and desktop workflow, connected via their Creative Profile. Adobe also launched the public beta of a Creative SDK that powers the delivery of new 3rd party mobile apps that connect to Creative Cloud. Adobe Creative SDK is available at:

    New Features For Essential CC Desktop Tools

    This Creative Cloud release includes powerful new features for Adobe’s flagship creative desktop tools. Highlights include: Touch support on Windows 8 devices for key design applications; new 3D print features and enhanced Mercury Graphics Engine performance for Photoshop CC; a new Curvature tool in Illustrator CC; interactive EPUB support in InDesign CC; SVG and Synchronized Text support in Muse CC; GPU-optimized playback for viewing high resolution 4K and UltraHD footage in Premiere Pro CC; and HiDPI and new 3D support in After Effects CC. Through a member’s Creative Profile Adobe is driving frictionless creative workflows, with CC desktop tools able to access powerful new mobile apps and services. Building on the success of Creative Cloud capabilities such as file sharing, Behance and TypeKit, new services, available today, include:

    • Creative Cloud Market is a collection of high-quality, curated content that’s freely accessible to Creative Cloud members. Access and use thousands of professionally crafted files, including user interfaces, patterns, icons, brushes and vector shapes, to speed through desktop and mobile projects.
    • Creative Cloud Libraries is a powerful asset management service that lets creatives easily access and create with colors, brushes, text styles, and vector images through Creative Cloud desktop, mobile apps and services. Creative Cloud Libraries connects desktop tools like Photoshop CC and Illustrator CC to each other -- and to companion mobile apps.
    • Creative Cloud Extract is a cloud-based service that reinvents the Photoshop CC comp-to-code workflow for web designers and developers, letting them share and unlock vital design information from a PSD file (such as colors, fonts and CSS) to use when coding mobile and desktop designs.

    **Pricing and Availability **
    Today’s updates to Creative Cloud are expected to be available to Creative Cloud members by the end of the day as part of their membership at no additional cost.

  • So now that you've had time to work with the new look (the "Caravan" release?) with the blue replacing the gold, how is it working for you? It's been a somewhat controversial choice for many. It's harder for me but I don't tend to work in the video apps more than a couple hours a day and my color sensitivities are measured a bit more than most men. I know others that simply can't work this without headaches.

    I'd love any comments ...

  • Upcoming upgrades - Lumetri Color

    Morph Cut

  • After NAB I'll be posting a few examples of working in Premiere Pro with the new tools. For many new to video editing, the new color workspace is a huge ... and I do mean that ... improvement in understanding how to modify and play with color, tonality, really grading a video image, because it is so similar in layout to Lightroom's Develop module and the corrections control panel for Adobe's Camera Raw, used either via Bridge or Photoshop.

    But this is the Lr/ACR "interface" with some COOL new toys ... that will become tools after I/we stop playing with them just because they're fun. Such as the new Hue control ring ... that is one awesome tool, for everything from the subtle to the over-powering, and fast to use. More to come later, but I'm here for the next week and my laptop just isn't one to run major video apps on. Sigh ... ;-)


  • @rNeil Looking forward to hearing your thoughts/review/examples of the new color grading tools in Premiere Pro.

  • They're pretty interesting ... and I'll be posting a few more comments perhaps during NAB and after ...

  • Cool, I'm wondering if we've reached a point where editing and color grading can truly be done in just one program, without any sacrifice in capability and flexibility. That said, it's really no big deal to use a few programs if needed.

  • @matt_gh2

    I think that subscription model will drive Adobe to reduce number of large applications (in long term). Integrating some of their functions in others.

  • It would be interesting if they did that, while keeping full capacity of the merged programs. I guess people would like to avoid round-tripping between editor and color-grading programs. (And same for audio. It kinda works that way now with Speedgrade for grading, and Audition for audio.)

  • One totally new control is the Hue wheel. That is something I've not seen quite the like of before. SpeedGrade currently has (in the Curves choices) a Hue/Sat ... line? It's a long thinnish horizontal rectangle with a white line down the center and the background is a color wash ... red on both ends (it actually runs off one end back to the other) and a progression "around" a color wheel through yellow green cyan blue magent to red again. You can click to set a point or two, then click & grab in between to move the saturation for that hue up or down.

    The new hue wheel in the next PrPro is ... a color wheel like you'd see for typical grading controls ... BUT ... it has a circle of white in the mid-point from the inner to outer part of the wheel, and you click & drag on that in/out to increase or decrease sat of that hue. There's some small color circles to click on to auto-set points on the line if you choose. It's very fast to use, VERY obvious what to do with it ... and easy to work.

    Combined in the whole Lightroom/ACR style panel down the right side of PrPro when in the new Color workspace, it's going to be quick, easy, and effective to do most grading things in PrPro without needing to go to Sg except for major work.

    This is a no-brainer for the people who tend to do small things in grading ... like quite a few of the M4/3 people I've known, or say many of my peers from stills photography ... but have quite a bit of experience in "developing" images in Lightroom's Develop module or the ACR module through Bridge or Photoshop. The controls are pretty much "placed" as you would be used to seeing them, and they do a very similar thing to the look of the image as the similar controls in those stills programs.

    You can do your editing, then quickly boost the appearance without having to learn anything "new" like say video corrections in a dedicated Grading suite ... which is pretty daunting for most newbs.

    They've also somewhat simplified setting up multiple audio tracks ... something that pretty much mystified me before, and I think I'll be able to use now. I've looked at that but not had time to play with it yet.


  • @rNEIL,

    Looking forward to your report!

    These new features are very encouraging. I'm glad I renewed my yearly subscription - especially since you can find the prepaid 1 yr codes for 320$ on eBay.

  • I've been a big fan of SpeedGrade, I love working in that intriguing program. But with these changes I'm not going to have the excuse that I need to go play in Sg nearly as much. Some projects it just won't make sense.

    Dang it ... but I will be working faster. Can't always have everything. ;-)


  • In about 22 minutes of above video he shows new export prsets. Interesting thing is that there is no h.265 there yet.

    btw. Anyone knows the name of transition use in this video?

  • The morph feature looks interesting for budget interviews.

  • For me, the new color feature is worth it for white balance and exposure adjustment alone. Coming from a photography background this really is a dream come true.

  • As to H.265 presets, remember this is NOT a final build. There's more features that may come into it before shipping, let alone presets.

    Yes, the new "morp" tool is going to be killer for interview work. I've not had the chance to play with it, but I've spent many hours over the last few days with others who have. It isn't a perfect-every-time tool (at least yet) but it is quite amazing.

    @geoffcbassett ... there are several features of the new build that will make coming into PrPro from the stills side of things SO much easier! Vastly easier to understand, the new color workspace a home-away-from-home for Lr/ACR users, audio not quite so mystifying, and on and on.

    I'll be trying to get the time to get some info/demos up over the next month or so to give those like me who come into video from stills a good start when it does ship.


  • Why does the thumbnail and the end of the video has someone that looks like Justin Bieber?

    He trying get a lot of views that way or are those images part of the software?

    Am I the only one who noticed that?

  • Some exciting new things. Will wait and see how good they are. One bonus, I let my subscription lapse last month... so I was able to cash in on the new pricing.

  • Does anyone besides me find it funny that the new features video is both overexposed and badly white-balanced? You would get better results by setting the camera on the "smart" button.

  • I've not had much time to play with the new versions of PrPro & Sg, but from what I've done, the color panel is slick ... and as everything you do of course pops up in the effects panel, ANYTHING you do in that new color panel is both keyframeable and trackable. Plus, of course, you can dial the effect down, all of those sorts of things still apply. You don't have to grab an effect & drop on the timeline then click it's drop-down and do something ... you can just change things even in live playback while watching your changes affect the clip. That alone saves a ton of time.

    There's two new face tracking options ... one "general" the other "Face details". Choose one, drag it generally over a face, and it changes to fit the face. Say the person goes into a huge yawn, the mask will automatically elongate to fit the face shape, and shrink back as their jaw goes into place. Put this on, then go into the new color workspace panel and lift brightness or alter color/hue ... this is fast & slick.

    Facial detail will sort out and list in the effects panel lips, eyebrows, both nostrils ... pick what you want to work on.

    Those are just a few of the new things. Usable things. And one thing I noticed, as my current editing machine is only an i7 4-core at like 3.6ghz with 16Gb ram ... though I do have twin 256Gb SSD's in RAID0 for system and a ton of Sata/eSata disks so I've got all the parts split up on decent in/out lines: the new build runs faster, previews better, than the current public release. AND ... it's not done being "optimized" yet.

    Coupled with some new features in Ae, and a better performing Dynamic Link, I think @shian might just find this pretty interesting.

    Not even going into Project Candy, which ... well, it's been a trip to watch that get flashed under people's noses.

  • rNeil

    Thanks for keeping us updated. You mentioned H265 exports, is there any word on editing H265 in the timeline?It's the one feature me and all other NX1 users are dying for :)