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Adobe Premiere Pro CC and other CC Suite 2021 products
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  • @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.

  • 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.

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

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

  • 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 ... ;-)

    Neil

  • Upcoming upgrades - Lumetri Color

    Morph Cut

  • 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 ...

  • 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: www.adobe.com/go/maxkeynote.

    "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: creativesdk.adobe.com.

    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.

  • 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.

    http://blogs.adobe.com/premierepro/2014/10/gone-girl-marks-yet-another-milestone-for-adobe-premiere-pro-cc.html

  • 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.

  • @Oedipax I have quite a few Canon camcorders with the same pro sensor as the G10 that I bought on closeout for filming really big events where you need lots of cams. The cams are great, but the pulldown is a pain. And the fact is, Premiere Pro should put the "pro" back in the title--they should fix the bugs. An expensive piece of software.

    When I bought the software, there was no sign on the box that said "by the way, there are some serious problems with this, and we will never fix them. Ever."

  • What AVCHD cameras are still doing 24p inside 60i? I wouldn't hold my breath on Adobe fixing that, if it's been a known problem for a while.

  • @DrDave Ok yeah - thought it might be something like that - reminds me of my old DVX100 days which had pulldown used. Thanks.

  • @matt_gh2 An older format--still used--to embed 24p in a 60i stream. Premiere made a big deal about editing it natively since V5 but it doesn't work properly and you have to do it in After Effects.

  • @rrsduncan Great advice - will probably try one of the other programs. Thanks.

  • @matt_gh2 the DCP export is really slow and extremely basic. Its just a really cut down version of Quvis' Wraptor, kind of like the way Adobe support Dolby by having basic functions that you have to pay to make more complex.

    There are other more robust programs out there (free too) But if you are shooting a project at 24fps and don't mind the wait then it'll do in a pinch. I'm not 100% happy with the rec709 LUT they use.

  • @DrDave What's AVCHD pulldown? I remember some people talking about choosing to just export a high quality uncompressed file from premiere and then use another program to get H264 file from that.

  • Still waiting for them to fix AVCHD pulldown. Shouldn't be more than a decade at most. What they should do is make it super simple to bypass the export, so you can just easily and reliably plug in something that works for any media source.

  • @SuperSet Thanks. I'm also curious on the DCP export capacity.

  • @matt_gh2 It looks stable and you really want that H264 fix. It was a black eye for Adobe. Almost as bad as the multicam bug. Hope they can improve from this.

  • @Oedipax Thanks. Do you know if the latest version of Premiere CC is stable, or if there are any problems with it? I'm in the middle of an important project, and would like to use some of the new features, but wasn't sure if I should chance an upgrade in the middle of a project.

  • They released an update a few days back that fixes the H.264 issues.

  • @superset Do you know if the H264 export is still messed up with compression artefacts?

  • Has anyone try to edit footage on Premiere CC in 4K monitor? the text is way to small

    premiere.jpg
    1909 x 1077 - 330K