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Adobe Premiere Pro CC and other CC Suite 2021 products
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  • SuperSetSuperSet

    Adobe also confirmed that H264 export is messed up with compression artifacts in 2014. Major bummer. This kind of reminds me of the multicam bug debacle with the 2013 release.

  • MeierhansMeierhans

    Take care, Red Giant plugs seem not to play with new version. Just in case you need..

  • Vitaliy_KiselevVitaliy_Kiselev

  • OedipaxOedipax

    It looks like they finally added RAW adjustments to Cinema DNG files inside Premiere. I'm still downloading the updates to try it, but that's what the document said.

    Edit: Update, installed and tested with BMPCC and 5Dmk3 RAW footage. The BMPCC stuff handles great on my 8-core Mac from 2008 with GT640 2GB. To change your RAW settings, right click on the clip in bin or timeline and choose "Source Settings." Then you can adjust the exposure, white balance, and tint. Those are the three parameters, so not as rich as what you get in Resolve or Camera RAW, but not bad. Plays back realtime with a LUT applied via Lumetri, full quality. Very nice.

    Magic Lantern RAW works the same way, except I get pink highlights which could just be from using older ML footage. Don't know if it'll happen with the newest build yet or not. Otherwise, same as BMPCC.

  • Vitaliy_KiselevVitaliy_Kiselev

    The 2014 release of Premiere Pro CC enables you to work with the vast majority of formats natively — including 4K, 5K and 6K RED media, XAVC, ProRes, and DNxHD — without transcoding or file rewrapping. Premiere Pro recently added support for Sony SStP and Canon RAW, and significantly expanded support for CinemaDNG formats.

    https://helpx.adobe.com/premiere-pro/how-to/video-formats.html?set=premiere-pro--whats-new--2014-06

  • Vitaliy_KiselevVitaliy_Kiselev

    Today is updates day - https://creative.adobe.com/

  • matt_gh2matt_gh2

    @Tron Will try that - thanks.

  • TronTron

    @matt_gh2 Convert the clip into a smart object??

  • matt_gh2matt_gh2

    Focus masks seem interesting. Anyone know how to apply that to a video clip?

  • Vitaliy_KiselevVitaliy_Kiselev

  • maxrmaxr

    @konjow cheers mate =)

    As superficial as a quick test can get, the ColorNeutralizer plugin together with the divide method (and different opacities percentages) seems to be a hyper fast way to work out the wb... that said, it's not a magic wand to replace colour correction, but helps. It's also nice to be able to use other AE plugins in Premiere, even if just for fun. Gulió!

  • konjowkonjow

    @maxr thanks for posting

  • maxrmaxr

    Eran Stern little "hack" enabling to use AE colour neutraliser (and other AE pluggins) in premiere.

    I've quickly tested several other AE pluggins, also outside CycoreFXHD's folder - channel blur, time echo, kernel, match grain, etc. - and seems it works for many of them. BTW, for those of you guys who like weird effects (for music videos or likeso) the wide time effect really messes with the image, flipping it, cooling colours, strobing... kind of crazy :{o

     
    Plus a Chris Meyer's quick & dirty super fast method for white balancing in premiere/AE using a black solid, tint effect and divide transparency mode - http://www.lynda.com/After-Effects-tutorials/Correcting-white-balance-issues/137909/167487-4.html

  • rNeilrNeil

    I've worked with Colorista a bit, nice tool. Color Finesse is quite a tool also, but I've mostly worked within Sg and simply haven't learned to work with the tools of Finesse.

  • LPowellLPowell

    @rNeil I actually do the final color grade in Premiere and Colorista II after all the edits and transitions are wrapped up. To my mind, color grading in Premiere is an artistic act, while color correction in AE is strictly technical. In practice, there are usually some crossover issues, which is why I like Colorista's ability to work the same in both Premiere and After Effects. For the base technical correction I use Color Finesse, though I often wish its curves and hue offsets were keyframeable like the rest of its sliders.

  • rNeilrNeil

    @LPowell Always interesting to see the variety of the way people work. There are some who are working heavy multi-cam/audio projects in dynamic/direct link modes, some have but don't like it as well, some have the software do too many glitches to work that way. And yea, there's some fine colorists who do their work mainly in Ae. I've not spent much time there as I've not needed "real" fx stuff but need to start working it more to learn what to do with it. Intriguing program.

    And ... in the direct-link PrPro-Sg, one little tiny glitch ... ahem ... auto-save is turned off as they don't allow Sg to "mess" with a PrPro timeline file until you tell it to save & return to PrPro ... so one needs to remember to save manually every couple minutes or so. Found that out rather unhappily, but have adapted.

  • LPowellLPowell

    @rNeil

    Adobe workflow preferences are literally a matter of different strokes - I don't begrudge those who find CC integration useful, I'm just skeptical how well it works in real projects rather than tutorials and demos. Can you really trust Premiere to handle multiple clips in multiple tracks with multiple masks on multiple layers with multiple effects, and then hand it all off seamlessly to Speedgrade without a glitch? Not me, I'm the type who has automatic backup set to run every 5 minutes...

    I'm far from a typical Adobe CC or ex-Final Cut user, however. For a single-clip project that's one long take I don't even use Premiere, I usually do the entire edit In After Effects, audio included. Even when I have multiple clips, I import them first into AE, where I do all the technical preparation involving framing, exposure normalization, noise reduction, and color correction. I then export each clip in a format that's ready to edit in Premiere, with less compression and better consistency than the original footage. That makes my editing tasks in Premiere much simpler and smoother, and if some clip isn't quite right I can easily go back to AE to fix it and render a fresh copy without disrupting anything in Premiere.

    In my experience, preprocessing each clip in AE pretty much eliminates the need to perform complex surgical operations on individual clips nested inside a multi-track Premiere timeline. Likewise, Speedgrade's intricate keying capabilities don't have much use since I already rendered my adjustment layers in AE. With AE, the color-managed technical tools are all in one place and work together with no dynamic links to worry about. I guess I just don't get why Adobe wants to kludge Premiere into a Swiss army knife packed with add-on, me-too features that AE already does better.

  • rNeilrNeil

    @LPowell ...

    I'm using the CC suite of video software, and though I don't do a lot of heavy lifting, it's been a sweet suite for me so far. My biggest concern with Sg has been the problems with masks not always working right. And my old machine can't really handle everything in smooth real-time ... which is why there's a new one sitting right here all built to my specs that should be a good editing machine for now and a VAST improvement for me. I'll get transferred to it in a couple days or so.

    At NAB, I got to sit at the 'display' computer in Adobe's booth and do some things in the next build of Speedgrade ... and wow, those new scopes are beauts, the thing was just smooth & slinky to work. So looking forward to that release, which is coming ... well, within the month apparently. And I watched a number of folks go through demo's with Adobe staff ... folks running any other grading app you can think of ... they seemed rather interested in what this beast could do. But then almost everybody has their own preferences, right?

    The integration of PrPro with AeFx isn't perfect, there's still some folks preferring for many large-form projects to do a digital intermediate route, or take footage into AeFx to make a comp there and THEN pull that into PrPro, but there are more folks all the time simply able to start in PrPro, take a trip to AeFx & back, then over to Sg for a bit of grading ... and back and forth. Some things done in AeFx don't come too well into Sg & vice versa. But a LOT of stuff does.

    And when it does, wow ... the time-saving is amazing. No exporting/render-outs or any of that crap ... simply go over to AeFx or Sg for a few minutes work & back to Prpro. No, it ain't perfect yet but it's getting better ... and I love the simplicity of the whole thing.

    Wow ... talking about 'simplicity' while talking about video-post-processing software ... isn't that an oxymoron? Like "military intelligence" or something? :)

  • LPowellLPowell

    Wow, is this the most underwhelming update yet from Adobe? Seems like their biggest project was making Speedgrade finally work as advertised (i.e. without bogging down your hard disk with thousands of DNG files). Aside from that, the campaign to impregnate Premiere with After Effects' DNA looks like it's continuing to reach for critical mass.

  • rNeilrNeil

    @Alienhead

    Understand the frustration. Did you ever see the Batman movie with Michael Keaton & Jack Nicholson? Nickolson's Joker at one point is putting out consumer products like necklaces, perfumes, toothpaste, mouthwash, & deodorant with parts of mult-part poisons. Use X toothpaste & Y deodorant or so-&-so's fake-pearl necklace with Jolen's perfume, you're history. Speedgrade at times is a bit like that ... and they are working at getting that stuff knocked out but they haven't completely nailed it yet.

    I will say ... when you've got a system it works on, it's ... just wondrous. The speed of going PrPro-Sg-PrPro is amazing. No transcoding, no dpx'ing, no edl ... simple quick & sweet. But then, if the masks bollix up your machine if applied with a particular effect from AeFx, hmmm ... sigh.

    Neil

  • AlienheadAlienhead

    @rNeil - Why Speedgrade was pissing me off wasn't entirely clear to me until I watched the beginning of Patrick Inhofer's SG tutorial, where he explained the lack of CUDA in DL mode for Mac users. Again, It works fine in Naive mode just not the direct link. I wasn't even aware that CUDA acceleration was a feature of AMD cards, but in any case I've got the card that I have and I won't be able to direct-link effectively until Adobe catches up.

  • rNeilrNeil

    @Alienhead ...

    There are Mac users that are D-L working quite successfully. There are issues with some systems with certain cards and at times needing to edit the list of cards that Adobe stuff will "see" on your computer. Sometimes the AMD cards are doing better on Macs, even though on Windows machines the nVidia cards do a lot better. Whild for some they just load the program and it works great, for others it's really a complicated sytem-by-system process to get best results.

  • AlienheadAlienhead

    I just discovered why Speedgrade is so slow and frustrating to use for me. Apologies if its been mentioned before but haven't seen it - if you are on a Mac, Adobe still hasn't implemented GPU acceleration for Nvidia cards with CUDA. Well it is implemented for Native files, but not if you are dynamic linking with Premiere. So it's basically unusable on a Mac if you are dynamic linking.

  • Vitaliy_KiselevVitaliy_Kiselev

    @Oedipax

    Check post above - June 18.

  • OedipaxOedipax

    Does anyone know when the stuff they announced at NAB is rolling out? Sometime in June hopefully?

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