A series of as-they-come notes on news of assorted Premiere Pro tutorials, tips, and related tools continues.
Creative Cloud User is a new blog in town that provides quicktips on CC apps, mostly the video ones. One example is Meet the new Premiere Pro Timeline. You can't embed their content, but you can subscribe to some videos on iTunes.
Many of the changes to Premiere CC are in the timeline, with new levels of customization and power in user manageable custom presets (track heights, source and track patching) and changes to overwrite and insert editing. So, let's revisit Josh Weiss at reTooled.net for Premiere Pro New Features – The New Timeline Panel, and look at something new from Andrew Devis, Premiere Pro Techniques: 109 Timeline Panel Change in CC:
Todd Kopriva noted a new upcoming feature, Sync Settings features in Premiere Pro CC for sharing keyboard shortcuts, preferences, effect presets, and workspaces.
Overshadowed by NAB news and the Creative Cloud tempest: the Coen Brothers are switching from Final Cut to Premiere (story revived by No Film School).
There's more good news from Al Mooney on Improved GPU support in Adobe Premiere Pro CC. Happily, the new iMacs are supported (and work smoothly). Besides an expanded list of approved cards, there's a preference option to enable GPU acceleration for any card, as discussed by Dave Helmley:
Adobe's abandonment of customers who prefer perpetual license key ownership caused quite a media storm (some had a cow), even though Creative Cloud now means lower costs and smooth sailing for most users. Some might object to paying for a year yet being forced to check in monthly, while others see privacy concerns with the constant collection of user data, or paying for obscure web apps, etc. Among the more interesting takes were:
- Partly Cloudy by Oliver Peters
- Creative Cloud by Aharon Rabinowitz
- 14,000 petition Adobe to revive the Creative Suites at CG Channel
- Stop Adobe From Forcing Creative Cloud On Creatives is on Facebook and Twitter
- Photoshop CC: Adobe responds to reaction at DP Review
- You should never lose access to your work, period. at John Nack on Adobe generated many many comments
- Creative Cloud Complaints Darken Adobe’s View of the Future by Josh Centers and Adam C. Engst
- Adobe Creative Cloud: Summary View by Mac Performance Guide
- Premiere Pro (and all the Adobe apps) are going cloud only by Scott Simmons
- My thoughts on Adobe's new rental policy from Digital Rebellion
- What happens when pirates play a game development simulator and then go bankrupt because of piracy? by Greenheart Games (a coincidence)
- Corel is all about giving users choice from the Corel products team
- HitFilm for Mac by FXhome — Kickstarter hopes to compete more (and already does on some level)
- Creative Cloud, Adobe MAX & Cheap Lenses! in video below from Ryan Connolly and Film Riot:
John Montgomery summarized The tech behind the AdobeMAX sneak peeks. Below is Playing with Lighting in Photoshop and After Effects with Sylvain Paris, a tech demo not part of Creative Cloud (others haven't yet made it out of the labs). For some actual comedy, there was droll response to heckling in Perspective Warp in Photoshop.
Improve the Efficiency of Your Workflow When Switching to Adobe Premiere Pro is a free webcast on May 29th at 11:00am PDT. The session looks at “how to get the best hardware performance so you can deliver more projects in less time through a combination of production techniques using Adobe Premiere Pro and Production Premium with Dell and NVIDIA hardware.“
Rick Young, the English fellow with the long-running website Mac Video, has a new website Movie Machine, which has a new downloadable magazine out that's heavy with NAB news.
Awhile back, Kevin Monahan mentioned the Avid Frame of Reference chart on video details like chroma subsampling, aspect ratios — but especially useful if you're using Avid DNxHD codecs.
Last year, Matt Johnson shared Premiere Pro :: 2:35:1 :: Cinemascope/Anamorphic Crop Settings & PSD File Tutorial, and tweeps still find it useful.
Andy’s Safe Guides by Andy Mess is a free Mac plug-in generator that displays a variety of flexible safe area overlay guides for users working in 16:9 formats. Safe Guides is compatible with Final Cut Pro, Motion, After Effects and Premiere Pro. A “classic” FCP plug-in from Mees, Andy’s Elastic Aspect, has been reworked and is free through FxFactory, along with some other cool freebies. This filter makes it easier to scale SD footage to HD and keep a semblance of natural aspect ratios in a protected area, rather like “directional content aware scaling.”
FxFactory offers these filters free, along with some other cool freebies mentioned previously. Check out also CoreMeltFREE! – 39 Free (Mac-only) plug-ins for FCP, FCP X, Premiere Pro and AE, and odds & ends mentioned by Vashi Nedomansky in 6 Free Effects for After Effects & Premiere [Plugins]. Here's a tutorial on Andy’s Elastic Aspect:
Adobe Encore DVD has reached its end-of-life state, but apparently will be available through Creative Cloud, and in a perpetual license for a time. For some background on this, see Using Encore CS6 with PremierePro CC, Dave David Helmly's tour of Using Premiere Pro CC & Encore CS6 for Bluray, DVD, and Interactive Video for iPad, ATV, and Mobile HD. By the way, it seems that the Mac version handles MPEG VOB files far better than the Windows version. The technology for this product was licensed from Sonic Solutions, which is no more.
Also from David Helmly is Premiere Pro & AE Native Stereoscopic 3D Editing with V3′s QuickS3D, an inexpensive plug-in to support Adobe's native tapeless formats in a Stereoscopic 3D workflow. This video will give you a general idea of how the plug-in works and some general guidance on setup.
Clay Asbury shared My 10 Favorite Features: Adobe Premiere Pro Next in text; Walter Biscardi did it with video in Adobe Premiere Pro CC Top Ten!
Jason Levine updates in 3-parts with DSLR Editing Workflow in Adobe Premiere Pro CC:
- Part 1: From the Camera Directly to Adobe Premiere Pro
- Part 2: From the Camera to Adobe Prelude CC; Ingest, Tagging, Transcoding, and Rough Cutting
- Part 3: Multicamera DSLR Workflow with Automatic Audio Sync
Andrew Devis posted Filmic Blend Technique – Making Video Look Like Film in Premiere Pro, text tips on Premiumbeat. See his earlier Premiere Pro CS6: 69 Color 22 The Filmic Blend Technique:
In a nice turn of events, Alexis Van Hurkman has started a Q&A column on PVC, starting with Two Questions About Video Scopes: Ruminating on the Differences Between Visual and Graphical Analysis. For some background on the waveform monitors and vectorscope in Premiere, here's Larry Jordan and Jeff Sengstack, and Alexis on DaVinci Resolve from Some Things I Saw at NAB 2013:
Aaron Williams posted Colorist Tip #47 – The Lightbox , which discusses using “a 'lightbox' to see consistency, progression of a grade over time, and to pick out problem shots. The lightbox can give you a (very useful) 10,000 ft. view of the project you’re working on.” You can generate these in After Effects with Make Thumbnail Comp from the DV Rebel Tools scripts by Stu Maschwitz, or Paul Tuersley's pt_ContactSheet, which creates contact sheets or storyboards from a precomp or footage layer.
Stu Maschwitz discussed Color Correcting Typewriters. Here's the intro:
Another new website, Mixing Light, is serving members lessons on color correction. Robbie Carman teases with 5 videos in Hello SpeedGrade CC. Here's a sample, Automatic Shot Matching:
FilmmakerIQ has free short course on The History and Science of Color Temperature. Here's the introduction:
Total Training posted Stabilizing Shaky Footage in Premiere Pro by Debbie Keller. See also, Todd Kopriva on the same GPU-accelerated effect, Warp Stabilizer.
Adobe released nice demos like Adobe SpeedGrade CC Overview and Adobe Audition CC Overview, featuring welcome feature enhancements like Shot Matcher and Sound Remover:
Avid has been Introducing Media Composer 7 with overviews and in-depth walkthroughs.
Please note that this roundup is for quick review and comparison. There is almost always vital information from the originating authors at the links provided — and often free presets, plug-ins, or stock footage too.