Adobe on Adobe
Watch a free eSeminar on how to get more from your hardware.
By Todd Kopriva | February 11, 2011
In January, a bunch of us from Adobe hosted a one-hour session about optimizing for performance of both Adobe Premiere Pro and After Effects. In case you missed it, here's the recording.We also said that we'd post a set of links for more information about all of the things that we covered. It was a very fast-paced session-or maybe it just felt that way to me, since I was the one doing most of the talking-and we covered a lot of ground. If you want to check out the links, visit my Adobe blog.If you have any questions, please bring them to the After Effects forum or the Premiere Pro forum. It's much harder to have a conversation in the comments of a blog post than on the forum.Also, the most comprehensive place to find information on improving performance in After Effects is the "Improving performance" page in After Effects Help. Much of what is listed above can also be found there, plus much more.
By Michelle Gallina | December 08, 2010
Adobe Premiere Pro CS5, version 5.0.3 is an update now available. This update to Adobe Premiere Pro CS5 adds support for two new NVIDIA cards: the Quadro 4000 (Mac) and the Quadro 5000M (Windows). The addition of these new cards extends the power of the Mercury Playback Engine's GPU acceleration to users working on laptops as well as workstations.The 5.0.3 update also includes performance enhancements to further improve the experience of switching between Adobe Premiere Pro CS5 and other applications, as well as other user interface, stability, and performance enhancements that make the Adobe Premiere Pro CS5 editing workflow even more efficient and robust. For a full list of enhancements, check out Adobe Premiere Pro team's blog post that highlights the 5.0.3 update.
See why Final Cut Editors have made the switch to Adobe Premiere Pro
By Michelle Gallina | November 19, 2010
More and more Final Cut editors are using Adobe Premiere Pro CS5 to make them more efficient. If you're wondering if Adobe Premiere Pro is really worth the switch, check out the four-part web series (replay links are listed below) featuring Final Cut editors and how and why they use Adobe Premiere Pro CS5. You'll learn the real story on Adobe Premiere Pro's Mercury Playback Engine, what it means to edit DSLR footage natively, and how you can remove bottlenecks in your pipeline when working with Adobe After Effects and Photoshop. To follow up the series, check out the Q&A session to see if your burning questions were answered. Don't forget to check out the resources we have for Final Cut and Avid editors here making the switch to Adobe Premiere Pro. We have also created a 7-part video series that answer a ton of questions. Check it out on AdobeTV. For information on hardware support, we have a special site just for that purpose and even have benchmarking data to give you the real scoop on Mercury. Finally, for all things revolving around HDSLR video editing, Adobe has created a site that is full of free video tutorials and tips & tricks.
Yeah, using CUDA on the GPU to process a lot of effects does speed things up (a lot!) in many cases, but that's not the whole story.
By Todd Kopriva | November 02, 2010
A lot of people are talking about CUDA and the GPU in the context of Premiere Pro CS5. But the talk is almost always about speed, speed, and more speed. Yeah, using CUDA on the GPU to process a lot of effects does speed things up (a lot!) in many cases, but that's not the whole story.
Follow along with Chris Fenwick, a former Final Cut editor, as he blogs about his switch to Adobe Premiere Pro
By Kevin Monahan | October 06, 2010
Chris Fenwick is a colleague of mine and has been for quite a while in the San Francisco Bay Area. Chris has been involved in the post-production community since the 80?s so he's been around the block a few times. He's also well known in the Final Cut Pro community and has given impassioned lectures about non-linear editing workflow at FCP users groups.To my surprise, Chris has recently become a "switcher". That is, someone who formerly used another editing tool and has made the decision to switch to Premiere Pro CS5. Lately, he's been working with a ton of DSLR footage and the workflow for editing it in Final Cut Pro is too painful. Chris simply doesn't have the time to transcode his footage just to start working on a project. Chris' reasoning is that Premiere Pro CS5 provides tools to get his job done more quickly and smoothly than Final Cut Pro can.Chris has recently released a series of videos about the switching process on his website. Although he can be a bit brash in talking about its quirks, I think that Chris gives a very honest assessment of the tools and features found in Premiere Pro CS5. Check out Chris' website and look at the left hand column for links to all the videos and commentary. If you're a switcher too, I think you'll find the videos valuable. By the way, you can also follow Chris on Twitter.Are you thinking about switching too? We've posted a web page for switchers on Adobe.com. There are a bunch of resources to help you with the transition. Got a switcher story to share? Let us know!
If you're brand new to After Effects, check out this free online training series to get you started
By Todd Kopriva | September 15, 2010
Adam Shaening-Pokrasso presents a seven-part video tutorial series that introduces After Effects for beginners. This series is a single multi-part hands-on tutorial with downloadable exercise files, so it's especially good for people who learn by doing.I've added this tutorial series to the resources that I recommend in my overview post for beginners: "Getting started with After Effects (CS4 and CS5)".One of the things that makes this series stand out from other tutorials is that it spends a lot of time on fundamentals of animation and motion graphics, not just on the specific features of After Effects, and not just on the creation of a specific result or look. These fundamentals can be used every day, for every project. This is real teaching.Here's a quick summary of the highlights of what each episode shows:Episode 1, Animation and compositing basics> overview of terminology, workflow, and user interface> basic animation of layer properties> RAM previewEpisode 2, Animation technique and keyframe interpolation> overview of keyframes and animation> keyframe interpolationEpisode 3, Masking and duplicating layersbasic compositing> introduction to masks> duplicating layersEpisode 4, Parenting> null object layers> parentingEpisode 5, Precompositions and master compositions> composition settings> precompositions> introduction to effects> changing and animating masks> layer stacking order> In and Out pointsEpisode 6, Photoshop to After Effects workflow> working with Photoshop and After Effects> preparing and importing Photoshop documents> anchor pointsEpiside 7, Final touches and rendering> markers> navigating nested compositions> moving and tweaking keyframes> adjustment layers> basic color correction and adjustment> rendering and exporting
By Dennis Radeke | September 10, 2010
Like everyone else, I've started a blog, gotten into a blog, regularly contributed to a blog, added to the blog, expanded the blog, touted the blog and ultimately…forgotten the blog.Actually, I never forgot about it and I've put in entries now and again, but working for Adobe, you've got to focus on what's most important and sadly, though I love it, the blog languished and the petals fell off of the blossom.Well, I'm not out of the woods yet and I can't remember ever being more busy than I am right now. HOWEVER… I am resolved to get back into the blog.Why? Simply put - you. Many of you have commented and taken the time to tell me that you've gotten something out of it, or asked a question or whatever. Helping people is one of the most rewarding things that I can do for Adobe and while I'm not perfect at it (or even consistent), I'm glad to be getting back into this.BUT..THERE'S..A..PROBLEM..In addition to getting back into the groove, connecting Contribute to the blog, learning how to use Omniture, etc., there's the idea of content. What do you want?Really - what do you want from this blog? What do you want from Adobe Beginner Classes on Adobe TV?One of the things I'm going to be doing is some informal and probably biased reviews of some gear. I'm planning on doing some reviews of the equipment I get to play with and pass on some of my off beat thoughts and comments.Anyway, you get the idea. So I hope that you'll comment here, post something on Twitter (@TheGenesisProj) or do some sky writing in a piper cub in whichever city I'm visiting. Okay, maybe the last one is tough, but I'd be impressed!Let me know and as always, thanks for your support.Dennis
By Jason Levine | August 10, 2010
With the release of Premiere Pro CS5 earlier this year, the topic of native editing, and more specifically, native DSLR editing has been a big one…worldwide. From literally every country I've visited, people are discovering the power of DSLR video and leveraging it to it's fullest. But the questions I'm continually asked are, "Why does Final Cut Pro/Avid Media Composer force you to transcode? Why don't you transcode in Premiere?"This is generally followed by, "Surely, transcoding to an intermediate codec leads to better/more accurate color grading, higher bit depths, faster performance, etc…right?"Well, the short is answer is: No. There are many misconceptions about transcoding, largely stemming from its long-standing traditional use. But as Dylan once sang, "The times, they are a-changin'…" and the same can be said for the way we work in our NLEs specifically, Premiere Pro CS5.So, I decided to record a short (less than 9 minute) tutorial on ‘Staying Native or Going Intermediate' to try and clarify some of these misconceptions, and educate users as to when, how, and why you might/might not stay native or move to an intermediate codec.
Staying Native or Going Intermediate? Transcoding and Premiere Pro CS5 from Jason Levine on Vimeo.
As mentioned in the video, this is not meant in any way to 'slam' or ‘cut down' on anyone's personal choices for editing/workflow, nor am I stating that there's no place for transcoding~there most definitely are great benefits in certain workflows. These are simple truths that I hope will provide some clarification.Blog on.
In this 7 part series, Dave Helmly walks you through a complete 3D Stereo workflow with Premiere Pro CS5.
By dhelmly aka DavTechTable | July 14, 2010
I've created a start-to-finish workflow on how you can create a 3D stereoscopic workflow in Adobe Premiere Pro CS5 using complementary tools that are on the market today. It's a must see for anyone getting started with 3D Stereo. This seven-part series covers Active, Passive and Anaglyph viewing as well how to play your videos on a consumer 3D TV. It's a ton of information so I broke up the series into bite-sized pieces. Let me know if you have any questions and enjoy! -- Dave
By Todd Kopriva | July 02, 2010
In After Effects CS4, you may have seen errors like this when rendering and exporting: After Effects AEGP Plugin Media IO PluginThere is a mismatch between Output Module settings. Please verify your settings and try again. Property Data Invalid!Medial02 error: 0x400e0004Frame dimensions out of bounds.This type of "mismatch" error message indicates that you have a setting in the format-specific settings that is incompatible with the settings chosen in the Output Module Settings or Render Settings dialog box.
By Karl Soule | June 30, 2010
In the video space, there's always a lot of talk about these number ratios - 4:4:4, or 4:2:2, or 4:1:1, but what exactly do they mean? Recently, someone argued with me that it was better to convert every video clip from my Canon Rebel T2i DSLR camera into a 4:4:4 intermediate codec before editing; that this would make the color magically "better" and that editing natively was somehow bad. They were wrong, and I'm going to explain why.Before you read on, make sure you've read my earlier articles on 32-bit floating point and on YUV color, and look at the picture from the Wikimedia Commons site of the barn in YUV breakdown.
By Karl Soule | June 28, 2010
Another area I'm getting pelting with questions about is the little YUV logo on some Premiere Pro effects. What exactly is YUV when talking about video?
Audio engineers designing emergency alerts run into focus group trouble.
By Michelle Gallina | June 25, 2010
With the recent news about Adobe Audition coming to the Mac, I thought you might enjoy this spoof on the hurdles an audio engineer faces.
Get to the nitty-gritty details of how to work with several high-end cameras and formats
By Todd Kopriva | June 24, 2010
Adobe has been putting out several white papers, workflow guides, and other materials to give the nitty-gritty details of how to work with several high-end cameras and formats. Many of these resources are collected here. This blog post is a summary of some of these resources, and links to some that aren't captured on this page.
You asked and Adobe is delivering
By Michelle Gallina | June 23, 2010
Today on Adobe Labs, Adobe announced that Adobe® Audition®, the all-in-one professional audio toolset for recording, mixing, editing and mastering, is planned to come to the Mac in a future release. Adobe Audition for the Mac will offer a flexible audio editing environment for fine-tuning single files or creating multi-track mixes. It will also deliver sophisticated audio restoration tools, enabling users to quickly transform problem recordings into usable soundtracks. Audio editors and video professionals will now have more choices for audio production, with Adobe Audition available on either PC or Mac platforms. Adobe encourages creative professionals to sign up to be notified when the beta is available so they can test some of the new features and provide the product team with their feedback. Key innovations in Adobe Audition for the Mac include native multi-channel support for 5.1 surround sound for professional results, noise reduction and restoration capabilities and new audio effects including de-hummer, de-esser, and volume leveler. All of these capabilities are planned to come to Mac users in the next release of Adobe's comprehensive professional audio editing tool.
By Alyson Abrego | June 18, 2010
The Adobe Story team is looking for feedback on this new service. Take 5 minutes to fill out this survey and be entered to win a free copy of CS5 Production Premium. Even if you haven't used Adobe Story, your feedback is still appreciated. Thank you.
Understanding Color Processing in Adobe Premiere Pro
By Karl Soule | June 07, 2010
Recently, I've been getting a lot of questions about the new icons in the Premiere Pro Effects panel, in particular, the "32-Bit" icon seen at left.People have asked how these effects relate to the 64-bit Mercury Engine, if they are limited in some way? The answer is no - these icons mean that these effects use 32-bit floating point color, the gold standard of color processing.Trying to understand video color precision is, well, a confusing task. There are so many different terms floated around - 8-bit and 10-bit color are used to describe cameras, while software talks about 8 bits per channel, 16 bits per channel, and 32-bits per channel "floating point" color. What does it all mean? And, for the colorist, how does Premiere Pro handle color? If these are burning questions in your mind, then read on.
Easy project exchange helps speed production pipelines
By Michelle Gallina | May 27, 2010
Since so many industry professionals typically use a variety of production and post-production tools on virtually every project, it's really important to move media and sequences between tools seamlessly. Unfortunately, in complex production pipelines this often requires format conversion, specialized plug-ins, tedious workarounds, or a lot of manual work to recreate elements that don't transfer. In Adobe Premiere Pro CS5, we've added the ability to share projects and assets between Adobe Premiere Pro and Final Cut Pro, as well as between Adobe Premiere Pro and Avid NLEs such as Media Composer. This essentially means you can share files and timelines without conversion or rendering, preserving commonly used effects and transitions.
New support added to After Effects CS5 and Adobe Premiere Pro CS5
By Michael Coleman | May 25, 2010
As many of you know, CS5 Production Premium includes built-in support for the RED camera format. In the past couple months, RED has been making a lot of changes, including introducing their new Mysterium-X sensor and the latest "Color Science".Today we are posting a significant update to our RED camera import plug-in for Adobe After Effects CS5 and Adobe Premiere Pro CS5. It includes support for the new camera sensor and a bunch of new features. Check out the full details at Todd Kopriva's Region of Interest blog. You can always go directly to get the plug-in from Adobe Labs.
By Jason Levine | May 21, 2010
For this piece, we'll take a look at using the new Ultra Keyer in Premiere Pro with some Canon 7D footage. What's great about this is the fact that the green screen was unevenly lit, and with minimal effort, I'm able to pull a rather impressive key, literally in seconds.Following that, I'll show you the easiest way to time-remap footage (both speeding-up and slowing down) directly inside the timeline. One thing that I neglected to mention was that you can (of course) keyframe time changes (but you'll see a little tool-tip pop-up during the video). Once keyframed, you can adjust the ramp of the speed/duration into the time change as well. Powerful stuff, and very easy to apply.And lastly, I'll showcase the ease of the new 'Export Frame' option, ideal for taking digital stills from your HD-DSLR video, and lightning fast in CS5 (thanks to the fact that we no longer go thru Media Encoder to process stills; just click 'Export', choose the format/location, and you're done).
DSLR Workflow in Premiere Pro CS5 - Keying, Time Remapping & Stills from Jason Levine on Vimeo.
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The Adobe Posters:
Bill Roberts: Director, Product Management
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Dave Helmly: Sr. Business Development Manager
Dennis Radeke: Business Development Manager
Jason Levine: Sr. Evangelist
Kevin Monahan Online Technical Evangelist
Steve Forde Sr. Product Manager, After Effects
Al Mooney Product Manager, Premiere Pro
Ellen Wixted Sr. Product Manager, Adobe Story
Michael Coleman Sr. Product Manager, Video Editing Workflows
Michelle Gallina Sr. Product Marketing Manager, After Effects
Eric Philpott Product Marketing Manager, Audition & SpeedGrade
Meagan Keane Product Marketing Manager, Premiere Pro
Kathy Charneco Sr. Product Marketing Manager, Production Premium