Adobe Announces Major Software Updates
One of the promises Adobe made when it went to its new subscription pricing was to make much more frequent updates to all their software. This evening, less than five months after the initial CC release, Adobe emphasized its promises with updates to:
- Adobe Prelude
- Adobe Prelude Live Logger (new)
- Adobe Premiere Pro
- Adobe After Effects
- Adobe SpeedGrade
- Adobe Media Encoder
- Adobe Story Plus
Plus, they’ve beefed up Adobe Anywhere, Adobe’s server-based collaboration environment for enterprises and large production groups. The announcements were made Sept. 9. Software will be previewed at IBC in Amsterdam starting Sept. 13. Product release is scheduled for October, though the specific release date has not been announced.
NOTE: These updates apply only to the CC version of Adobe’s software. The CS6 release remains unchanged.
You can read their press release here. And this is the news as I got it from Adobe.
WHAT’S NEW – ADOBE ANYWHERE
New with this release of Adobe Anywhere is integration with After Effects, support for “growing files” (which are video files you can edit while they are still being recorded — think sports), Network-based voice over support, project data redundancy, project archive and restore, plus a new iPad app and extended API support to allow custom development.
The iPad app is interesting because it allows users to view productions and play back sequences directly from the Anywhere server to an iPad located in the field or a remote location. The iPad app does not require Premiere in order to play back an edited sequence.
NOTE: In conversations with Adobe, I was told that they want to roll-out Adobe Anywhere to companies large enough to have internal IT departments to make sure the initial server architecture is properly setup and implemented. Adobe’s goal is to roll this out to smaller groups in coming months.
WHAT’S NEW – ADOBE PRELUDE
- Prelude now supports live logging, where you can start logging a live event, or during shooting of a production, using an iPad, then combine the logging notes with media during ingest using Prelude.
- Prelude has always allowed logging clips and creating rough cuts. Now we can export clips and subclips from Prelude using Adobe Media Encoder to Premiere or a video logging site.
- Prelude now imports still images into a rough cut.
- Prelude now generates a list of markers that you can print. This is especially useful for loggers to share notes with producers.
- Plus, support for new media and metadata formats. Specifically, Prelude did not support logging GoPro cameras, now it does.
WHAT’S NEW – ADOBE PREMIERE PRO
- Premiere now supports a round-trip Direct Link (meaning no exporting) between Premiere and SpeedGrade. This allows faster experiments with color corrections and looks.
- Streamlined editing, with a new monitor “overlay” that allows editors to see key data such as time code and camera angle on top of media during playback.
- Expanded native 4K, Ultra HD and RAW format support. This includes a laundry list of new file formats: Cinema DNG, Sony RAW, Phantom Cine, Sony XAVC Long GOP, Panasonic AVC Ultra, 64-bit ProRes decoding and more.
- Improve multicam editing allows for viewing output change during multicam editing. Plus, editors can easily rearrange angles or turn them on or off.
- Improved closed captioning.
- Improved clip relinking to support linking low-res proxy files to high-res camera masters.
- The ability to mix down multi-channel audio to stereo for monitoring.
- And a new XML export to Autodesk Smoke.
WHAT’S NEW – ADOBE AFTER EFFECTS
- Yay!! Adobe has combined a mask with a motion tracker to make it much easier to track a mask as the image moves. If you’ve never needed to track a mask, I can hear you yawning. But if you have… well, yawning never crossed your mind.
- Improve up-resing (also called “up-scaling”) tools to retain image quality when scaling an SD image up to HD frame sizes.
- Live property links between clips. Adjust one and the linked clip adjusts by the same amount.
- Faster warp stabilizer and 3D camera tracker; up to 80% faster.
- Better GPU (Graphics Processing Unit) optimizations, especially for the ray-traced 3D renderer for extruded text and shapes.
- The Media Browser from Premiere now is in After Effects; plus, the Media Browser can access media stored on an Anywhere server. This makes it much easier to share comps between team members.
- Support for Apple Retina displays to make sure you see every pixel in your project.
WHAT’S NEW – ADOBE SPEEDGRADE
- The new Direct Link with Adobe Premiere Pro means fast and easy opening of Premiere projects in SpeedGrade for color correction, then a single click to send graded projects back to Premiere.
- Create and save multiple masks in one .look file. Plus, copy and modify looks between shots or projects.
- Quickly apply camera patches to balance the color spaces between different cameras.
- All the file formats supported by Premiere Pro are now supported by SpeedGrade.
- Premiere Pro sequences now appear on their own Timeline in SpeedGrade.
WHAT’S NEW – ADOBE MEDIA ENCODER
- AME now supports “filters” to add watermarks, burn-in timecode, and apply color “LUTS” (Look-Up TableS) when encoding files.
- Preference files can quickly be synced between multiple computers using Adobe’s Creative Cloud.
- AME is now GPU accelerated for rendering and compression.
WHAT’S NEW – ADOBE STORY
- Story now shares lists more easily and can now import set lists, character lists, and tag lists.
- See the status of everyone to whom you have shared a project.
When I met with Adobe to discuss some of these new features, I was impressed with the sense of urgency they have about updating their applications and responding to the needs of the market.
As Bill Roberts, director of video product management at Adobe, said: “Broadcasters and video pros have limited resources and are under increasing pressure to deliver more on shorter timelines and smaller budgets, so they need solutions that streamline workflows and enable more efficiency.”
I’m looking forward to working with these new applications when they get released in October.
As always, let me know what you think.
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11 Responses to Adobe Announces Major Software Updates
Why won’t Adobe package the upgrades and offer them to owners of previous versions of the creative suite?
Because updates are only designed to work with one version of software. That’s true for all developers, not just Adobe.
Always fascinating how Premiere is clearly playing catch-up with so many small and big features of FCP X or even legacy FCP.
But even if they had feature parity, I’d never use Premiere purely because of its bloated, convoluted and just plain FUGLY interface. Even with its imperfections (that are being alleviated far faster than Adobe is able to move) Apple has truly proven they are the masters of the GUI once again.
Larry how are you?
Have to take my hat off to Adobe have used the Loudness Radar now a lot in Audition, very very useful. Have cross checked this with one of the large digital asset management agencies here and YES it works!! it is accurate, at least for EBU standard R128
For the AVID stuff you have to go to Izotope for Insight and that costs a lot of bucks!!
Adobe are a canny company there is NO doubt about that!!
Larry shame I will not see you in Amsterdam at Supermeet.
Far TOO busy..Is that a good or a bad thing??
Best of luck
Hey Larry! Trying to understand the implications of the PPro ProRes 64-bit update…
Will all ProRes files, both new and old, be faster? Do old files need to be re-encoded? Does the QT .mov extension provide limitations since it’s still 32-bit?
These are great questions. Up until yesterday, I didn’t know there was a 64-bit version of ProRes. I’m trying to find out some answers this morning and will let you know what I learn.
This has been rattling around for ages
Wow, seriously??! You actually think the “bittedness” of the codec could have ANY effect on new or old footage?! 😀
Gee, then I guess all my Finder files and JPEGs I created with Preview had to be converted also when they went 64bit. LOL
You misunderstand. A DV file – which uses 8-bit video – that you created years ago remains a DV file. However, if I open that DV file and convert it into a ProRes 422 format, that original 8-bit file is now stored in a 10-bit space, giving me four times the room for color corrections and other image processing.
An original gray-scale image, when opened into RGB color space, remains a gray-scale image. However, the improved color space allows you to add colors, which is not possible if the image remained a gray-scale image.
When we converted our Macs from 32-bit memory addressing to 64-bit memory addressing, nothing about our existing images changed. However, the next time we opened them for processing, we were able to take advantage of all the new memory space and speed that the larger memory addressing provides.
Nothing changes the source image. What changes is the potential of what we can now do with it.
I’m more than aware of the technical background, yes. But even a lengthy explanation sheds no light on how anyone could assume that the way a movie file IS DECODED OR ENCODED (with the exact same codec), be it in 32 or 64bit, in anyway changes the ENCODER. ProRes is a white booked codec… the memory bandwidth in which it is encoded or OPENED in, even if it were 8 or 16 bit, has ZERO bearing on the resulting image. Merely the SPEED of the encoding and decoding (theoretically) changes and the amount of RAM that can be used for doing so.
So if you in fact understand that, how could you possibly consider the question “Will all ProRes files, both new and old, be faster? Do old files need to be re-encoded? Does the QT .mov extension provide limitations since it’s still 32-bit?” a GREAT question? For me that merely shows that the person asking is getting a LOT of things horribly confused.
Whether you take a trip with a VW Bug or a Ferrari makes NO difference in the route you take nor does the street need to be changed.
My apologies – you are correct. My confusion was that I thought you were responding to something I wrote, when you were actually responding to the questions of a reader.