How will it work? A new option will exist to create a new Team Project or open an existing Team Project. There will be a new dialog box to invite other team members and manage who is collaborating. Beyond that when you’re working in Premiere there’s not much different except for some icons in the Project window to see who is attached to the project. There are also two new buttons to either share your changes or update your project to get the changes of others. Those two buttons will become very important.

 

Share editorial workflows across your production facilities without requiring additional dedicated hardware.

This is important as editors and facilities won’t have to invest in an initiative like Adobe Anywhere to use the collaborative tools. Of course Adobe Anywhere is a much different thing than Team Projects but the technology of Team Projects has come from what Adobe learned with Adobe Anywhere.

To me one of the most intriguing things here is that producers in the field could utilize Prelude to begin setting up work for the editor and Team Projects would be an easier way to get that work into post. The Prelude to Premiere workflow was already pretty easy so it’ll be interesting to see how it gets better. Also notice Adobe uses the word service. Do not be at all surprised if Team Projects is an additional cost to the Creative Cloud subscription. This question was asked in multiple ways but Adobe is not releasing any information on price and availability at this time.

To some editors and productions this is the holy grail of collaboration: working simultaneously in shared projects. Adobe specifically mentioned something like a visual effects artist working in After Effects while a craft editor works on the show in Premiere. That’s an obvious workflow but what I want to see is exactly how Team Projects will work only within Premiere Pro. Imagine the many different scenarios in editorial: Multiple editors hashing out a big show; preditors stringing out and updating story edits; a senior editor working through changes as a junior editor tweaks the technical details, graphics and/or color working the story is still being finessed. There are many possibilities that could make many different versions of a Premiere Pro project file a thing of the past … if it works.

One thing Adobe mentioned was the possibility of storing proxies in the Creative Cloud storage. That could allow for some very easy and very remote collaboration provided you don’t have a ton of media or you have the bandwidth to handle it. I love the idea of a media manager in point A handling all of the transcoding and uploading while editors in points B, C and D just cut away and the Creative Cloud syncs in the background. Many productions will need way more than the basic 20 GB of cloud storage so expect much bigger storage options to be offered and that will probably mean an additional cost. Adobe also said you could also have one editor working on full resolution media while another remote editor is working on proxies of that same media. There will be a media management panel in Team Projects that will allow for relinking of all the media to the appropriate places and resolutions.

The team project workflow that most excites me is that of multiple editors working on duplicate, locally stored media. This isn’t an uncommon workflow now with editors sending sequences around via a transfer project but Team Projects could make this much easier. I specifically asked Adobe this workflow and it is a supported workflow.

This means Team Projects should be very easy to setup and be usable by anyone.

One specific thing asked about Team Projects is how it might benefit the single user. The response from Adobe was that a since Team Projects are always updated in the cloud a single user could utilize this as a way to move backwards in time and recover older versions without the need to manually save tons of PPro project files. It was mentioned as sort of an unlimited undo stack. While I don’t think it’ll be as easy as that, it sounds like it’ll be an additional safeguard to move back in a project history without the editor having to really do much work. It also sounds like the Team Project architecture moves away from the single PPro project file format that has been known to bloat over time. This will be welcomed news. If you are a single editor wanting to use this new Team Project functionality it’ll be a close look at the cost vs. the benefit when the product is shipped.

Overall Team Projects looks to be one of the biggest things to happen to the Creative Cloud since it became the Creative Cloud. Functionally is sounds like there is a lot of good stuff in there that editors and their teams can use and have been asking for. Avid and Media Composer is currently the standard for collaboration in the professional video space so will Adobe be able to muscle in on this stronghold? That remains to be seen but if Adobe wants to get into this market they are going to have to prove the reliability of Team Projects as one of the major hurdles. The other thing that may prove more difficult is getting in-grained Hollywood workflows to move away from Avid. Having cut reality shows in both Media Composer and Premiere Pro I would argue that the more advanced feature set of Premiere Pro could make it a better tool for a lot of productions but Adobe will need to convince the decision makers and bean counters that this is true. Good luck to them with that. I just hope the pricing is right as there is already enough yelling on the Internet about the subscription model.

Expand your audience with captions and subtitles, whether to enliven silent auto-play video previews on Facebook, generate versions for different languages, or improve accessibility for hearing impaired viewers with closed captions. Easily create, fine-tune, and version captions, including tasks like text manipulation and altering duration and location right in the timeline. The new Edge Color feature ensures captions are easy to read on any color background. You get an easier workflow for creating captions from scratch as well. Deliver video content that speaks to more people and meets captioning requirements for web and broadcast in jurisdictions around the world.

The color toolset in Premiere Pro is ever-expanding, allowing editors to work deeply with color. Deliver the best color viewing experience for your audience with support for HDR10 metadata workflows, enabling editing of HDR10 and output for new HDR-enabled TVs and displays, providing greater precision for delivering brilliant imagery that makes the most of the viewing environment. The Lumetri Color toolset now includes a more refined color picker when working with HSL secondaries or white balance, allowing content creators to access powerful color correction and Look design tools in a dedicated color workspace.

Introduced earlier in 2016, the VR workflow in Premiere Pro now offers additional improvements. Users can work with stitched equi-rectangular video to show field-of-view so you can replicate viewing experiences while you edit your content. Premiere Pro also exports correctly tagged VR files so that VR-capable video players, such as YouTube, can play the media. Added to this release, is the new auto-aware VR, which detects whether your media is monoscopic, stereoscopic over/ under or stereoscopic left/right and automatically applies preferences for the correct viewing environment.

Sharing your projects via Destination Publishing allows you to render and share videos to popular web locations from directly within Premiere Pro and Adobe Media Encoder CC. With the addition of Publish to Behance, you can publish your videos directly to your Behance portfolio, the world’s largest creative community. Whether you’re posting to your favorite social media site like Behance, YouTube, Facebook or Twitter, or want to share your productions privately to Creative Cloud, Destination Publishing gives you a fast delivery system to meet your needs.

Live Text Templates allows users to include dynamic graphics with their video content in Premiere Pro, including the ability to edit text within those graphics, without requiring the editor to work directly inside After Effects. Live Text Templates are ideal for adding visual production value to any type of recurring content, such as tutorial videos, web series, broadcast graphics, and more. Editors who need to work with branded graphics content, like lower-thirds, will appreciate Live Text Templates improvements that allow for simple manipulation of text layers directly inside the Effect Control Panel. Automatically sync missing Typekit fonts, eliminating the need to find fonts manually, and take advantage of a new file format that allows you to share Live Text Templates via Creative Cloud Folders and import them directly into Premiere Pro without requiring an After Effects license.

Broad file format support is one of the key strengths of Adobe Premiere Pro. Just load your files and start working, even during ingest, whether you elect to work with native source file formats, or lightweight, auto-linking proxies. Along with more efficient ingest of camera media, the next version of Premiere Pro adds support for Native QT DNxHD / DNxHR export.

This release brings new and improved audio effects to Premiere Pro, providing higher quality sound processing and improved fidelity from Adobe Audition including: Adaptive Noise Reduction, Dynamics Processing, Parametric Equalizer, Automatic Click Remover, Studio Reverb. New hi-DPI aware effects include, Analog Delay, Chorus/Flanger, DeHummer, Guitar Suite, Phaser, Single Band Compressor, Tube Modeled Compressor, Vocal Enhancer and Multi Band Compressor. Some legacy Premiere Pro audio plug-ins will be deprecated and they will be removed in a future version.

Additional features include the ability to render sequences faster with new GPU-accelerated effects and improved support for Apple Metal. New visual keyboard shortcut mapping makes it easy to discover, adjust and customize keyboard shortcuts. Improvements to Dynamic Link between Premiere Pro and After Effects makes working with both applications more streamlined. Premiere Pro and Adobe Media Encoder now offer stitching of multiple clips from camera media into a single file on ingest for easier file management. Use the new Global FX Mute button in the Program Monitor to toggle on/off all video effects in a sequence, to improve playback performance, or view the clips without any effects applied. * And a new launch screen offers beginners a variety of learning options and approaches—whether it is examining a completed sequence, how to optimize a project, or a step by step through a featured tutorial.

* That will come in handy