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Adobe Premiere Pro CC and other CC Suite 2021 products
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  • So ... here's what it looks like to be working in the new Color Workspace ... note, the Program Monitor is particularly narrow because I've got a second monitor that my screen-grab can't show ... the background of the image is mostly green fir trees, but note that on the Vectorscope you can easily see the line up the one in-phase line that so many like to refer to as the "skin tone line" as well, that's a practical use of that line. These scopes are SO much better than what's been available in PrPro, and even if "all" you want to use is say the Three-Way color corrector, you still get these scopes ... the other pic's in the 'Editing" workspace modified to have the Effects Control panel open upper left, and Lumetri Scopes panel attached to the left edge of the Program monitor.

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  • For basic use, the Color Workspace is fast & nimble. And very capable, with two spots to apply LUT's/Looks, one in the "Basic Corrections" tab where you'd apply a technical/corrective LUT, and one in the "Creative" tab where you'd choose a style LUT/Look. You can also create either a LUT (in .cube format) or a Look ( .look) to save to disk and apply on other clips/projects.

    Anything you do to a clip in PrPro's Color Workspace now carries over as a single non-editable base Primary layer if you Direct Link the project over to SpeedGrade. You can turn it "off" or "on", but can't change that layer within Sg. You can of course do anything else that is allowed in a Di-Link process such as the wonderful 12-way color wheels, secondaries, masking & such.

    Currently, if I'm going to do fairly basic stuff I work totally in Premiere Pro using the Color Worskpace. If I'm going to do much of a grade, I most often just head over to Sg ... I find it fascinating that when I first started grading video footage a couple years ago I went far more to the color-temp/tint sort of start that I'd been used to in stills shooting. While that works for some clips easily enough, I've found that I do love the individual channel controls per color available in a full grading program like SpeedGrade. Adjusting red, green, or blue exposure & contrast separately can oft give a great start to neutralizing a clip.

    Still, the controls in PrPro's Color Workspace will be quite useful for a LOT of people. Especially if you're coming from stills work, this will be so easy to work. And it can also give an editor a quick idea of what a clip will look like if you want to just do some work in PrPro before sending it over to your colorist working in SpeedGrade.

  • Is it out yet?

  • From past behavior it'll probably be sometime by the end of the month ... or so. I've mostly been working with the new color workspace, and would like to get some time to work with the revamped audio handling section also. We'll see with everything else I've got going if I can get to it before it's all released. ;-)


  • I would like to try it!

  • At the Creative Pro Users Group, Al Mooney (an Adobe rep), hinted that it should be out by this month.

  • Al is a bit more than a "rep", he's the project head for both PrPro & Sg. I personally would not quibble with his public statements on such matters, as well ... if anyone should know, it would be him, right? ... ;-)


  • PR

    Adobe today launched a milestone release of its flagship Adobe Creative Cloud tools and services. The 2015 release of Creative Cloud includes major updates to Adobe’s industry-defining desktop tools, including Photoshop CC, Illustrator CC, Premiere Pro CC and InDesign CC; as well as new connected mobile apps for iOS and Android. The company also shipped Adobe Stock, the industry’s first stock content service to be integrated directly into the creative process and the tools creatives use every day. In addition, Adobe announced an expanded Creative Cloud enterprise offering that includes enterprise-grade administration, security, collaboration and publishing services for design-driven brands, businesses and large organizations.

    “The 2015 release of Creative Cloud is packed with innovation. Adobe Stock, our brand new stock service, makes 40 million photos, vector graphics and illustrations accessible directly within your favorite CC desktop apps. Our CreativeSync technology deepens the connections between desktop apps and mobile apps on iOS and Android; and major updates to Creative Cloud’s infrastructure and administrative capabilities make this an essential upgrade for enterprise customers,” said David Wadhwani, senior vice president, Digital Media, Adobe. “Creative Cloud 2015 is our most powerful and comprehensive release to date.”

    At the heart of Creative Cloud is Adobe CreativeSync, a signature technology that intelligently syncs creative assets: files, photos, fonts, vector graphics, brushes, colors, settings, metadata and more. With CreativeSync, assets are instantly available, in the right format, wherever designers need them – across desktop, web and mobile apps. Available exclusively in Creative Cloud, CreativeSync means work can be kicked off in any connected Creative Cloud mobile app or CC desktop tool; picked up again later in another; and finished in the designer’s favorite CC desktop software.

    Desktop Tools Take Giant Leap Forward

    With the 2015 release of Creative Cloud, Adobe magic and Mercury performance provide speed and technology breakthroughs across 15 CC desktop applications, including:

    • Celebrating its 25th anniversary this year, Photoshop CC introduces Artboards, the best way to design cross-device user experiences in a single Photoshop document and quickly preview them on a device; and a preview release of Photoshop Design Space, a sleek new work environment focused on the needs of mobile app and web site designers.
    • Lightroom CC and Photoshop CC both gain the new Dehaze feature, which appeared first as a MAX sneak in October 2014. Dehaze, eliminates fog and haze from photos, including underwater shots, for startlingly clear images. Haze can also be added to a photo for artistic effect.
    • Premiere Pro CC furthers its lead in the market with the addition of the Lumetri Color panel for powerful color corrections using intuitive sliders and other simple controls; and Morph Cut, which makes it easier to deliver polished interview content by smoothing out jump cuts in talking-head shots to create a cohesive, polished sequence.
    • After Effects CC now has Uninterrupted Preview to allow artists to adjust a composition’s properties and even resize panels without impacting playback. Also, the groundbreaking Adobe Character Animator brings 2D figures to life using a webcam to track facial movements, record dialog and apply movements in real time onto a pre-configured character.
    • Illustrator CC is now 10 times faster and 10 times more precise than CS6. Powered by dramatic boosts to its Mercury Performance Engine, users can now pan and zoom smoothly without delays. With the new Chart tool (preview), designers can also create beautiful custom charts and share them with others via CC Libraries.
    • InDesign CC gets its own Mercury performance surge with zooming, scrolling, and paging through complex documents now twice as fast. InDesign now also allows users to publish and distribute documents with a single click.
    • Dreamweaver CC has new responsive web design capabilities that let designers quickly lay out and build production-ready sites that adapt to any screen size.
    • Adobe Muse now includes instant access to premium fonts from Typekit.
    • And much, much more. Additional updates to these and other CC desktop applications make this one of the biggest releases in years.

    Pricing and Availability

    Today’s updates to CC desktop and mobile apps are immediately available for download by Creative Cloud members as part of their membership at no additional cost. Membership plans are available for individuals, students, teams, educational institutions, government agencies and enterprises. When adding Adobe Stock to any paid yearly Creative Cloud membership plan, creatives can save up to 40 percent over purchasing stock content separately. For pricing details, visit: .

  • Honestly, I love Premiere's functionality, but on big projects it just gobbles up all the memory. I've got 16GB and sometimes when working with big 4K projects my system slows to a crawl as it starts writing to the pagefile when it runs out of memory, especially if I have to also work in Photoshop and After Effects. The speed of the UI and overall experience should be the focus of the next minor update.

    That said, from the demo I saw, the morph cut seems like a really cool update. We'll see how it works in practice.

  • Sounds like a good time to upgrade to 32GB instead of complaining that you can't run three large programs concurrently without swapping on a system with 16GB.

  • Morph cut is a cool new tool ... and there's some long-needed improvements to aligning/setting-up audio tracks. But ... yea, 16Gb RAM isn't really fun to work with. 32Gb minimum, AND an SSD disc for cache purposes also. And it will use everything you give it in RAM up to at least 64Gb.


  • After just a few minutes, I'm pretty sure that I love the Lumetri Color stuff. I've been wishing for a while that Adobe would give me something like Lightroom built into Premiere in terms of adjustments. It's nice not to have to drag in 4 different filters to add a LUT, adjust exposure, adjust contrast, and apply curves.

  • Jimminy Christmas. The Lumetri stuff is niiiccee!

  • New pricing for CS3 or above owners- only $600/year or $840/yr for new subscribers!!!

    and still no 3D or H.265 support....

    Isn't subscription great- now back to the old annual upgrade price and annual release dates, if not for more money now?


    I'm still keeping CS5.5 going strong.

    Q: Is it worth upgrading to CS 6.0 from CS 5.5?

  • @eatstoomuchjam When you import PPro project into After Effects, will color settings transfer from PPro to AE or not?

  • @NickBen I'm seeing $50/month ($600/yr) on Adobe site. This is under Individuals tab. The prices you mentioned are under Business tab.

  • @matt_gh2 Ah, so it's $599/yr no matter what at this stage, new or CS3 above owner. If you are a BUSINESS (not shooting cat videos and paying $600 to upload to youtube), you get the "BUSINESS" from ADOOBIE and have to pay more...

    For that money every year since they started the cloud subscription as service scam, I think there's not much I couldn't accomplish for regular editing with the older versions via 3rd party plug-ins and an updated GPU anyhow at this stage since CC still has no REC 2020 with HDR features for 4K/8K H.265 Blu Ray mastering, 3D, VR, etc, things that would make me want to upgrade from the "OLD" 4K H.264 2D timeline in CS 5.5...

  • Well a few months ago I bought two 1 year subsriptions on ebay for $299 each. Good deal.9

  • I just noodled around a bit with Premiere Pro CC2015 and some old GH2 leftover footage. So far it works fine (MB Looks, Lumetri Color, Warp Stabilizer...) Just 1 crash with Twixtor Pro when I deleted a keyframe - maybe my fault. Only one thing is getting on my nerves => the playhead runs pretty stuttery...

  • @mo7ies That's not something I do a lot, but if video effects transfer cleanly, then I suspect that it would (it's implemented as a video effect).

  • @eatstoomuchjam On another forum, someone said that since AE doesn't have Lumetri engine, then whatever Lumetri settings are made in PPro, they will be lost on import of PPro project to AE - ?

  • That animation feature is kind of cool.

  • @mo7ies I'd either believe them or try it yourself. As I said, it's not really my use case.