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Entries in Adobe (6)


Adobe Premiere Pro - 2015

Premiere Pro features a new color workspace featuring the Lumetri Color Panel, which allows editors to manipulate color and light in new and innovative ways, at any point in the editing process, without leaving the application. Combining new color technology based on SpeedGrade with familiar Lightroom-style controls, applying simple looks and manipulating parameters to achieve the perfect aesthetic has never been easier, and you’ll see beautiful results in just a click or two. You can take it further with curves and hue/saturation controls, and the new Lumetri 3-way color corrector. And if you want to do more, you can use Direct Link to take your project into SpeedGrade for additional refinements.

Unsightly jump-cuts in talking head interview footage might just be a thing of the past with the addition of Morph Cut, which uses face tracking, frame interpolation, and some Adobe magic to create seamless transitions that previously would have seemed impossible.

The introduction of CC Libraries to Premiere Pro (shown in After Effects in the link) allows you to access and use looks and graphics wherever you are. Use the amazing Project Candy mobile technology to capture the look of a location or picture, jump into Premiere Pro’s Libraries panel and see the look sync’ed via Creative Cloud, and just drag it to a clip to apply. You can easily share looks and graphics from Photoshop and elsewhere between projects, team members, and across other Adobe applications for seamless access and collaboration.

An improved workflow to bring your video projects that you created on your phone from Premiere Clip, Adobe’s editing app for iOS devices, means you’re only two clicks from bringing your project into Premiere Pro to use professional editing tools.

You can now easily toggle between new task-oriented workspaces, optimized for the task at hand (whether it be editing, color work, and more), using the new workspace switcher.

As you’ve come to expect from Premiere Pro, you can work at any resolution without needing to transcode, and a host of newly supported native formats, including new support for Canon XF-AVC, and Panasonic 4K_HS, streamlining your path to getting creative.

And the features don’t stop there. Editors who work with Closed Captions will now be able to burn them into video on export, and a number of editing refinements like the new composite preview during trim, simpler keyboard-based numerical input, Source Settings now showing as Master Clip Effects, and improved AAF exports help you focus on simply making beautiful content. You’ll also find audio routing is easier thanks to improved audio routing UI, and an improved Audition workflow featuring Dynamic Link means moving between Premiere Pro and Audition is easier and faster than ever. Users of Windows-based touch devices will benefit from the first steps being taken towards a more touch-friendly editing experience, allowing editors to perform tasks like moving clips in the timeline and scrubbing the play-head by directly touching the screen. And editors who work with third-party I/O devices will experience significant Mercury Transmit performance enhancements.

One final piece of Adobe magic allows you to alter the duration of an export by up to 10% in either direction while maintaining quality. Time Tuner lets you target the precise duration of your required output without needing to perform time-consuming micro editing, by automatically adding or removing frames in areas of low activity, providing results of the highest possible quality for broadcast and elsewhere.
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BLACK FRIDAY - Kessler, Safe Harbor

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Pond5 Plugin for Adobe


Pond5 and Adobe have teamed up to develop a one-of-a-kind plug-in that gives video editors seamless access to the largest collection of royalty-free stock videos, including hundreds of thousands of music tracks and sound effects all exclusively within Adobe Premiere Pro CS6!

  • Access to over one million royalty-free video clips and hundreds of thousands of music clips and sound effects
  • Updated in real-time to include newly approved stock media clips
  • Automatically import free watermarked clips into your project by clicking on thumbnails from search results
  • Search using our unlimited scroll feature, eliminating multiple click-throughs on several pages

Download it Here!


NAB 2013 - Technicolor

Discover a new line of powerful Hollywood color correction and grading tools from the worldwide leader in color. With Color Assist, create stunning video faster and easier than ever before.

Compatible with Final Cut Pro X, and Adobe Premiere CS5.5 & CS6!

Save $20 dollars on Technicolor Color Assist! This offer is good now, through April 11. Just visit the link below and use discount code: NABSHOW20 when you checkout.

Technicolor Website


Adobe Premiere CS6 - Reviews

Well, CS6 is here! As a former Final Cut user and a newcomer to the Adobe editing realm I've been curious to see how Adobe would handle their first major update since Final Cut X came out. As I was doing some research, I came across two very helpful articles. If you are curious about what is new in CS6 or a Final Cut user who is skeptical of switching...I highly encourage you to take a few moments to read through these in their entirety. Hope these are as helpful for you, as they were for me. In case you are wondering, I am planning to make the upgrade to CS6 very soon. Happy reading!

Philip Bloom tests Adobe Premiere Pro CS6

- original article posted on Pro Video Coalition

In his celebrated career as a filmmaker, Philip Bloom has worn many hats, including director of photography, editor, director, and everything in between. Over the past five years, he’s become an expert on budget film making, as well as a trusted resource for information on the latest gear for shooting and editing film projects. Recently, he talked with Adobe about his experience testing the latest version of Adobe Premiere Pro.

Adobe: When did you first start learning to edit video?

Bloom: I was trained to edit approximately 15 years ago using a tape-to-tape workflow. I initially learned how to use Avid at work, and became very familiar and fast with it. For personal work, when the first version of Final Cut Pro came out, I began using that because it was more affordable than Avid.

Adobe: Why did you start looking at Adobe Premiere Pro for editing?

Bloom: With the more recent Final Cut Pro releases, I felt the hardware wasn’t being utilized to its full potential and the software should have been faster. Time is important and doing things quickly is a huge benefit in my line of work. I started exploring alternatives and purchased Avid Media Composer and Adobe Premiere Pro CS5.

Adobe: What did you think when you first started using Adobe Premiere Pro?

Bloom: In all honesty, I thought it was ugly and not very intuitive. Avid was good but it lacked integration with third-party plug-ins. When Final Cut Pro X was released, it became even more difficult to do what I wanted to do. I was a bit stuck, but then I upgraded to Adobe Premiere Pro CS5.5 and felt it was much better than the previous version. Still, I kept going back and forth between Final Cut Pro 7 and Adobe Premiere Pro CS5.5.

Adobe: What finally convinced you to switch to Adobe Premiere Pro? here to read the full article!


Premiere Pro CS 6.0: First Impressions

- original article posted on Creative Cow

Like many of you, I've been itching to get my hands on Adobe Premiere Pro CS 6.0 ever since Adobe's official announcement and demo videos. As a long-time Final Cut Pro user, NLE change has been a given ever since the Final Cut Studio EOL last June. The big question has been "change to what?"

I've written extensively about the Final Cut Pro X timeline and why it's not right for my style of editing. Since FCPX isn't an option for me, I've spent all year watching and waiting to see what other NLE vendors might come up with.

The buzz on Premiere Pro 6 was growing months leading up to NAB. Conan O'Brien's boys stoked the fires with a viral promo teasing a fresh new interface, solid professional workflow, and easy Final Cut Pro transition. When Adobe finally showed their cards at NAB, I felt comfortable enough to tell my partners to pull the trigger on a couple Master Collection upgrades. I bought a new Production Bundle seat for myself as well.

We could have waited since FCP7 still works for us. But Adobe's upgrade prices were great and we knew we'd want CS6 anyway. Besides, sooner or later FCP7 was bound to break, so I figured it would be good to start transition as soon as practical and get it over with. And the signs were good - it looked like Adobe had addressed the complaints many folks had with Premiere Pro 5.5. But hype and flashy demos aside, this was still a leap of faith. As a Final Cut Pro user, I really didn't know what to expect.

So when word went out of a leaked CS6 trial release available from a secret Adobe URL, I jumped at the chance to take Premiere Pro 6 for a spin. Would it live up to the hype? More importantly, would it live up to my particular workflow expectations and needs? - The short answer is yes. Yes it would indeed.

...He goes on to cover the following areas:
- Formats
- XML Transfers
- Overall UI Design
- Project Panel
- Timeline
- Timeline Key framing
- Trim Tools
- Audio
- Built in Effects and Titling
- Performance here to read the full review!


BluRay Disc Capacity

Article written by: Dan Beahm

I just burned 4 BluRay coasters (and am now out of BluRays since you can’t purchase inkjet printable BR disks at ANY store on the planet).  Image Burn was telling me “Cannot Write Medium - Incompatible Format,” but I wasn’t really sure what that meant.  What it should have said was “that file’s too big, dummy.”

Even though Adobe Encore shows the capacity of a disc as 25GB (which is also what’s printed on a BluRay disc), a BluRay disc can ACTUALLY only hold a little over 23GB (sometimes even less).  If your Encore project says anything over 23 GB is being used (the big blue progress/capacity  bar under “Disc Info”), you’re write is going to fail.  Believe me.  Anything near that 25GB capacity isn’t going to work.

Heed this advice.  It will save you a lot of time, money, and wasted discs.

I usually burn a BluRay .iso rather than burning straight to disc.  I then use ImgBurn to burn my BluRay later.  It makes it easier to burn multiple copies, and often circumvents problems with Encore.   Encore will let you burn an .ISO image up to 25GB, even though that image will not REALLY fit on a (single layer) disc.

Now you know.
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Source Article
Written By: Dan Beahm